Led Zeppelin screams about heartaches and breakups with relentless passion and craftsmanship in their debut, paying homage to blues music with their own hard rock twist, that will later go on to define a whole new genre.

The Smashing Pumpkins come out of the reverie of their debut to deliver a tighter, more structured, and heavy-hitting sophomore album, propelling them to the forefront of the 90's alternative rock scene, while also offering us some timeless classics.

An unexpected folk collaboration that complements each other seamlessly, reminiscent of early Bob Dylan with its political stances and talkative delivery.

On Forever, The Glyders dabble in a more psychedelic sound, creating an irresistibly fun Southern mix. Unfortunately, the songs quickly become stagnant, failing to make a positive lasting impact.

Without losing a beat, Sorry comes back sounding unchanged. They build on their already well-established sound, making this release feel uneventful and mainly skippable.

With Parader, we get a version of Keaton we've never heard, willing to expand his sound into new territories while still maintaining his lush and dark lyricism. It certainly isn't perfect, but neither is Keaton, and he's embracing it.

Coming back after a scandal and an identity crisis, The Neighbourhood never sounded more uncertain, trying to get radio hits while still attempting to stay fresh. It's really only when they were experimenting that I felt a glimmer of what made them great in the first place.

Kavadar isn't done surprising us, releasing a second album that seems more aligned with their stoner rock psych roots without losing touch with the pop elements they've dabbled with this past year.

Liam Kazar leaves his upbeat tendencies for a more contemplative and mature sophomore album that is deserving of your attention.

After trying to experiment on SPARK, Whitney returns to familiar ground. Nott necessarily bringing something new to the genre, but definitely offering us one of their best since Light Upon the Lake.

Pogo Rodeo showcases a lighter and more playful side of Psychedelic Porn Crumpets, offering a medley of classics with some interesting exploration.

The DIY aspect that made Das Kope is still there, but Brutamonte quickly becomes empty and lacks direction after a few listens, focusing more on production and trippy effects instead of offering fully-fledged songs.

Offering one of the most frenzied and energetic performances I've heard this year, I might be new to JMSN's music, but he definitely caught my attention.

An acoustic-folk album that is inherently beautiful, yet doesn't give enough to stand out.

Embracing the season, The Wytches concoct a spooky cocktail of garage-fuzzed songs to rock you to sleep during the darkest nights.

Deadbeat is like when the DJ transitions into the next song, but the payoff never comes.

SPRINTS is still as heavy as before in All That Is Over, but hasn't quite figured out yet how to incorporate their slower songs into the mix.

For their 14th album, Sloan doesn't even take the trouble to reinvent their sound. Stuck in their own comfort zone, they create an album that weirdly sounds like a pastiche of their old selves.

Described as the end of an era, Breach may be the conclusion to an extensive epic about anxiety and self-doubt, but to outside ears, it sounds like a band that is surfing on the same old sound that put them on the radio in the first place.

Marcus King does what he does best on Darling Blue: creating damn good music that makes you want to square dance and feel nostalgic about rural life.