Kodama exhibits all the dreamy and engrossing qualities one can expect from Alcest, while progressing their complex sound magnificently.
Atrocity Exhibition is the Danny Brown we know and love, but even though his attitude and perspective remain largely the same as it ever was, he’s made room for further growth and corruption.
The band has made an immense and incredibly work of death metal with their sophomore album. It's a bold and winding masterwork of metal that shows how keenly aware the band is to every little facet of the genre.
Dangerous Woman still feels unshakably safe. She appears to be in the right place creatively, but she just needs to take her own advice and break free.
It’s a vintage hip-hop sound, but it’s so many different shades of that vintage that it’s a record that is quintessentially 2016.
It amazes me how Chevelle manage to maintain such a consistent output. They never sound boring, always tweaking the overall sound in small amounts, so that you’ll be constantly surprised. Dig it!
Like all truly great artists, it seems that The Jezabels are not content to remain still – and with their third full length release, they’ve evolved into the best version of themselves that we’ve ever heard.
Vessels is immediately attention-grabbing and, ultimately, an inspiring piece of music that is borderline genre-defining.
For all its buzzing, sneering self-flagellation, Puberty 2 barrels head-first into contemporary rock’s inner circle. It’s an album both earthy and graceful, performing its own ballet routine in the dirt and the mud.
The strength of The Ridge isn’t really in how it evokes emotions, or even to showcase Neufeld’s maturing skills, though it accomplishes both. Moreso, it succeeds in how it makes an indeterminate landscape worth trekking.
In its utter madness it somehow forms a coherent picture of Yeezy’s unhinged genius.
It’s a befitting and worthwhile finale to one of the most incredible, memorable rides in the history of pop-punk.
Some strange production choices and a few safe songwriting decisions may bring down the experience for some, but Gore is Deftones further pushing their sound in a more melodic and rewarding direction.
Despite controversial lyrics, unconventional song structures, and a lofty concept, Blood Bitch somehow fits like a defiant glove against all the odds.
The Dream is Over is everything the band’s debut was and more. It’s angrier, louder, and at times, it’s downright hilarious.
Far from the sort of thrown-together collaboration that is generally de rigueur, case/lang/veirs stands out because it remains an accurate representation of the sum of its parts, a catalog of what makes its three artists great.
The dreamy sensation and emotional relevance of Futures is apparent here, and the catchier tracks (especially the designated singles) sound as natural as they ever have, at least since Chase This Light.
Singing Saw is one of those albums that immediately captures your interest, but offers enough depth and hidden intricacies to make every subsequent listen just as rewarding.
Skeleton Tree is meant to be a record for everyone, a naked, honest depiction of true grief in musical form ... This stands as possibly his greatest achievement, as much a sorrowful exploration as a loving sendoff only for his fans, but more importantly, for himself.
A masterpiece of musicianship, composition and imagery, Shrines of Paralysis is Ulcerate as we’ve come to expect, while showing us another facet of them as artists and human beings.
From the surreal, cloudy opening of ‘Intern’ to the wild and noisy guitars that close out ‘Sister,’ MY WOMAN feels like an authentic trip into Angel Olsen’s mind. It may not be perfect - and it’s certainly not all roses - but it’s real.
A Moon Shaped Pool sees Thom Yorke gazing into his own reflection. It makes for one of Radiohead's most personal efforts, but also an elusive one. Yorke often loses himself to the point of losing others.