Flyte get honest with themselves on their third album, almost as if there's a dark, overhanging cloud above them with a glowing, soothing sun on the horizon.

After a 6 year hiatus, the hard rock band comes back with a "fuck it" attitude, not really changing their formula, but embracing the hard years that lead to their halt to make a record that is nostalgic despite it having all the same problems as their previous releases.

Private music is a sign of the time for the nu-metal band, showcasing a new approach to their already well-defined sound and truly utilizing all the tricks in their bag to make this an outstanding entry.

Repetitive in nature yet chillingly somber, Mac Demarco's first fully-fledged attempt at resurfacing after "Here Comes The Cowboy" is a melancholic portrait of his inner demons and self-doubt, while still retaining that nonchalant sound that he has grown fond of.

While short in its runtime, "It's a Beautiful Place" isn't shying away from exploring different genres, delivering some of the freshest and most eclectic tracks that I've heard this year.

After a rocky previous year, the southern-rock band (if you can even call them that these days) returns with an even blander release, with little to no highlights and lyrics that were trendy straight out of Tumblr in the 2000s.

Forever disconsolate, Teethe encapsulates a passing feeling of sorrow and melancholy with their sophomore album, perfect to accompany you through those days of endless ennui.

Restless, The Thing is bringing a lot of fun to the party with their new hazy-rock album, but isn't bringing enough versatility and catchy hooks to fully bring the house down.

Post Animal strips back and releases an album that feels light, verging more toward a pop sound that didn't fully succeed in swaying me.

I Love People feels a little simpler than its predecessor, Western Cum, but that doesn't mean this album isn't full of witty lyrics, distorted-epic solos, and enough good moments to make it a noteworthy entry into Cory Hanson's discography.

Billie Marten's fifth LP is a calm introspective folk album that isn't shying away from experimentation to keep it fresh and interesting.

Reminiscent of 60s psychedelic rock, Midnight Rodeo's debut offers some loose cosmic jams to dance to, but becomes more a cheap pastiche of what it's trying to recreate.

Flurry takes components from all the upcoming grunge-country bands out there, and creates an explosive-cocktail that is unapologetically their own.

Surf-garage rock maestro comes back to their roots with Spun, a sun-soaked album that keeps on giving until the very last minute.

Even if Raspberry Moon is an attempt at exploring a cleaner sound, Hotline TNT still retains its catchy verve.

Badflower double down on their radio-friendly sound, letting themselves be vulnerable but not succeeding in grasping the raw energy that their previous material had.

On their 27th album, KGATLW explores themes of self-doubt and the deep feeling of longing for something bygone, successfully compacting it into 46 minutes of pure fun.

All Blue is a short attempt at chasing the soothing approach of its predecessor, although the production and Sam Blasucci's lyrical charm doesn't feel quite right here.

Not groundbreaking, but mostly a continuation of what works for Watchhouse.

Frankie and the Witch Fingers come out with another classic, not necessarily solving the issue discussed, but simply pointing it out with a warm, sarcastic grin.