Yol proves Altın Gün’s versatility, reassuring listeners that the group can walk down many paths and still take us on a fabulous trip.
Andy Stott's Never the Right Time may be the most inviting record in his catalogue, an entry point into his funereal sound-world. It's also one of his best.
Arab Strap's comeback album 'As Days Get Dark' stirs fond memories while making a quantum leap forward.
Alternately bitter and sweet but invariably vulnerable, Doomin' Sun is indie music at its most engaging, and Kempner and Duterte make a relatable pair.
With a turn toward loungey, jazz-inflected pop, Belgian rockers Balthazar hit a new career-high on Sand.
Bicep's sophomore release Isles is much more grown-up and conflicted. However, this is not to the detriment of their characteristic eclectic abandon.
They have refined their sound into a powerful stormfront that strikes aggressively but with a gracefulness that welcomes the listener into the electrified space the band create ... Listen mindfully, and you may feel revitalized.
Black Country, New Road show us what a "rock band" or "rock outfit" can achieve on For the First Time. For those bands labeled as experimental, we now have an expectation and a new benchmark.
Throughout Cavalcade, Black Midi display superlative skills, fierce chemistry, and avant-garde vision, offering spellbinding performances while also, and perhaps inevitably, falling prey to sonic tautologies and circuitousness.
Just as bubbly and sincere as any of the group's grittier work, Wink is unashamedly both fun and vulnerable, calls to self-love and social understanding embedded in peak pop musicianship and some of the year's catchiest melodies so far.
Cloud Nothing's The Shadow I Remember caps a remarkably prolific 12 months for leader Dylan Baldi with a reminder about the possibilities for community that music can provide.
Dawn Richard’s Second Line is a gorgeous record featuring fantastic, strange, esoteric sounds playing with house and club conventions. It’s a pioneering record and easily one of the best of the year.
A seemingly mix of contradictions that work wonderfully. The album is full of bright, poppy hooks as well as interesting, brainy sounds that make for a thrilling and engrossing listen.
Perhaps it's reverence for the power of the expansive that makes Floating Points and Pharoah Sanders such a dynamic combination on Promises, their breathtaking collaboration.
Arguably Garbage's most political record, No Gods No Masters is simultaneously novel and familiar. It's a stark reflection of the recent overwhelming angst.
Genghis Tron turn 180 degrees from their metal past for one of the most breathtaking re-inventions in heavy music history on Dream Weapon.
What we have on Goat Girl's On All Fours are some hazy but deeply unsettling observations, carried along effortlessly on a bed of delirious voices, sailing over music quieter, slicker, and tighter than that on their debut.
The best record the Montreal Godspeed You! Black Emperor have put together since 2000’s Lift Yr Skinny Fists Like Antennas to Heaven. And that is no small feat.
Gruff Rhys' Seeking New Gods is another wonderfully adventurous, multifaceted, stirring, and all-around eternal collection from this psychedelic pop artist.
It’s effortlessly likable and rich with heart and soul.
On their latest album, Obviously, Lake Street Dive once again make smart, soulful pop that hums along with the integrated precision of an Indy race car.
On Soberish, Liz Phair pens a collection of tunes that marry her candid musings with polished, accomplished California rock sounds.
North London producer Loraine James finds romance and hope on her extraordinary album, Reflection. It’s a work of seductive, heartfelt brilliance by an artist at the peak of her powers.
Marina re-embraces her inner strength and quite possibly creates her magnum opus with Ancient Dreams in a Modern Land.
Modest Mouse’s The Golden Casket is a lively and soulful return; one marked by a distinct sense of clarity and appreciation of life.
The sophomore release from Norwegian art-punk quartet Pom Poko is full of the same kind of sweet, distorted pleasures that made their first album so much fun.
DEACON delivers on the fantastic promise that Wise's earlier work – most notably his debut LP soil – has shown. He brings a creative, eccentric, and intelligent sound to alternative soul.
Shame's Drunk Tank Pink emphasizes something that's become even rarer than a rock star: a legitimately exciting band.
On Troubled Paradise, Slayyyter strips the cynicism from hyperpop, invokes the best parts of the last generation of pop powerhouses, and fills the void in culture left by the last time Katy Perry went #1.
Sleaford Mods' 11th studio album runs a glorious gamut from righteous anger to poignant introspection in a masterpiece of incisive cultural commentary and fully realized artistic vision.
A shining, spectacular addition to her discography, one you had no idea you needed, in many ways a return to her old, Marry Me/Actor era sound with all the aural benefits of being post-Masseduction. This is St. Vincent in the '20s and she is glorious.
It's the artist's duty to sing and dance, teach and sermonize. Tune-Yards practice what they preach there, even if their conclusions may seem a bit... sketchy.
Vijay Iyer Trio's Uneasy is a set of modern piano jazz covering a remarkable range, featuring three brilliant musical imaginations playing well together.