Muse — Simulation Theory

Simulation Theory is approachable, polished and made to fill a Madison Square Garden stadium set, like the majority of Muse’s discography. The latest effort takes pieces of old Muse and infuses it with new elements. It feels as if they launched us into a gleaming futuristic reality (even more futuristic than 2018). Simulation Theory shows the English rockers still have some tricks up their sleeves; however, they have gotten pigeonholed in the same formula they have used to write songs for the last three decades. The formula works but lacks the innovations and inspirations of their hallmark works Absolution and Black Holes and Revelations.

The Good, the Bad & the Queen — Merrie Land

Merrie Land is as it sounds it would be: whimsical, theatrical and positively British. There are definitely some hints of influence from the experimental side of the Beatles—think, Being for the Benefit of Mr. Kite, but not as good. Damon Abarn, also behind Gorillaz and Blur, dips his fingers into many genres: pop, rock and indie alternative. Sometimes that makes it feel like this English artist lacks focus and therefore misses the mark but not on Merrie Land. This album is a complete and hopeful second installment for The Good, the Bad & the Queen.

The 1975 — A Brief Inquiry into Online Relationships

Every once in awhile a pop album comes out and differentiates itself, separating it from the pack. It becomes the leader of the airwaves and A Brief Inquiry Into Online Relationships is that. Along with being every hipster’s guilty pleasure, The 1975’s third album is charming, honest, ambiguous and captures the emotions of being not completely certain of yourself in uncertain times. This album is like confiding in your most trusted friend: your phone. It captures the addiction of this society to inanimate objects and allows us to do our favorite things: put on our headphones, avoid interactions and comfort our anxieties.

Anderson .Paak — Oxnard

Oxnard attracts listeners instantly, pulling them into a star-studded dance party with an impressive guest list including Dr. Dre, Pusha T, Kendrick Lamar and Snoop Dogg. We see Anderson .Paak embracing the funky R&B style that he executes powerfully and accessibly to the listener. Still, Anderson .Paak’s Oxnard doesn’t seem to evolve much past its predecessors like Malibu but it does give us another album of smooth California love.

The Smashing Pumpkins — Shiny and Oh So Bright

The gang is back together; well, most of them anyway. Shiny Oh So Bright is welcoming of the past while reaching a more refined and refreshing place; a place where the Smashing Pumpkins sans the original members have not been able to get to in quite some time. The drums and guitars feel familiar on this album, conjuring up nostalgia and the magic that we’ve missed. The iconic Chicago band embraces its rock and alt/dream/garage roots, which has become inherent to the 90s juggernaut. Shiny Oh So Bright does seem to neglect the softer side that balanced the band’s past albums so eloquently like Mellon Collie and the Infinite Sadness. Although Shiny Oh So Bright may not exceed or even meet our expectations of the reunion, it’s a nice new addition from the Smashing Pumpkins.

Daughters — You Won’t Get What You Want

No album this year has clearly defined the current state of the world better than Daughters did on their most brilliant album yet: You Won’t Get What You Want. It portrays the anxiety and frustration that you go through when you feel overwhelmed or helpless—like every time you sign onto Twitter. Daughters puts listeners in a dark catatonic maze that relentlessly builds and destroys and leaves us in the smoldering ruble not knowing what happened but feeling oddly relieved that it did. The distorted instruments and driving beats repetitiously plunge you deeper and deeper into Daughters’ filthy creation while an array of spoken poetry and shouting spews from a megaphone. It has been eight years since Daughters’ last album and in that time, the band perfected the art of organizing terror in the most explosive confinement.

mewithoutyou — [Untilted]

Many artists get pigeonholed after their debut release, categorized and defined for the rest of their days. That is not the case with mewithoutyou. Throughout the Philly-based band’s career, fans have been taken through post hardcore, indie rock and experimental rock with a trailblazing approach that rarely disappoints. On [Untilted], mewithoutyou learned how to take prior ventures and turn an album out that nicely combines the past and present, similar to what Brand New did on Science Fiction last year. Mewithoutyou pushes the limits and constantly redefines who they are, welcoming us to grow with them.

Greta Van Fleet — Anthem of the Peaceful Army

OK, so maybe Greta Van Fleet does bite off of Led Zeppelin down to every band member’s mannerisms onstage. What’s impressive about the Michigan natives is how they’re bringing good ol’ fashion rock and roll back into the mainstream, even if it’s not exactly advancing the genre in new ways. America doesn’t need another bubblegum pop idol for teeny boppers. These guys are extremely talented and create somewhat of their own sound without having to use any effects. It’s back to the simple days of the ‘60s with only a bass, guitar, drums and powerful singer driving the band. It’s a refreshing album for any old soul. And an even more refreshing feeling to watch the swarms of enthusiastic crowds Greta Van Fleet draws to each live performance, instilling in us all a hope that rock is not dead. It’s exciting to consider what mark this band only in its infancy will ultimately leave on music.

This Will Destroy You — New Others Part Two

This Will Destroy You accomplishes what some other instrumental bands fail at on New Others Part Two, which is always keeping listeners interested. The only four-member band builds these incredible orchestrations fit for a euphoric dystopia into such powerful and full songs. And they do so in a way that doesn’t feel forced. The second iteration of New Others rounds out the compilation perfectly and fits nicely into the evolution story of this band’s discography.

Julia Holter — Aviary

This CalArts graduate shows us what she can do as a composer, singer/songwriter and producer on the wonderful avant-garde album, Aviary. While at times songs can sound so beautiful and almost haunting, she then quickly switches to incorporate beats more upbeat and whimsical, and then back and forth again. And that’s how the album goes throughout. Pulling us into near abyss and then lifting us back to the surface. She keeps her listeners teetering on the edge of insanity, which is where most of us are anyway.

Spiritualized — And Nothing Hurt

Spiritualized has always fit into a category all their own—the band mixes British rock, shoegaze and dream pop all in one on their latest album, And Nothing Hurt. Not since their breakthrough 1997 release, Ladies and Gentlemen We Are Floating in Space, has frontman and primary songwriter Jason Pierce sounded so confident and comfortable. Spiritualized’s signature symphonic sound with orchestrations of violins and blaring horns makes their triumphic return all the more spectacular. The English rockers lean on key elements from their previous albums while producing an opus that sounds familiar and refreshing.

Brockhampton — iridescence

Brockhampton serves the masses another helping of the self-proclaimed boy band’s alternative, hip-hop sound and once again does not disappoint. With three albums released in 2017, Brockhampton saturated the airwaves with saturation. All three of last year’s efforts earned its place in the band’s catalog. So a 2018 release was completely unexpected, and even more unexpected was that iridescence didn’t just sound like a compilation of last year’s b-sides. Iridescence is Brockhampton’s most unifying release, addressing contraversial issues in a way that is serious, no doubt, but light enough to be approachable. Not since hip-hop gurus like Wu-Tang Clan and A Tribe Called Quest has there been a group to get excited about.

Behemoth — I Loved You at Your Darkest

Metal and horror movies have made a tremendous resurgence recently, revitalizing the dying genres of both. The stale, overused formula had become outdated and obvious leading to a decline in new enthusiasts to the group. Bands in this genre either needed to grow or face extinction. Behemoth’s latest release, I Love You at Your Darkest, is a fantastic example of a band evolving the metal genre, giving it a breath of fresh air while still remembering its origins. Behemoth has accomplished a tremendous feat by producing quality metal for more than 20 years while maturing throughout, proving that you can teach an old dog new tricks.

Yves Tumor — Safe in the Hands of Love

Ambient music has really expanded to embrace creativity, cross genres and shift from a standard composition formula, which is making for the most unforgettable works. In 2018, we’ve seen this play out with artists like Jon Hopkins and Nils Frahm, and now Yves Tumor on her latest release, Safe in the Hands of Love. Apparently, this trend isn’t slowing down and that’s encouraging. Safe in the Hands of Love changes gears and moods throughout and knocks down preconceived notions of what cohesive might mean. Yves Tumor captivates the listener in such a way that once the album ends, you just want to hit repeat.

Lil Wayne — Tha Carter V

In an era where new rappers seem more like acquaintances than great friends, it’s fantastic to see rappers like Eminem, Pusha T and Lil Wayne come out with quality albums that remind us of why we loved them in the first place. The latest effort from Lil Wayne, whose real name is Dwayne Carter, Jr., making Tha Carter V almost a self-entitled album, is packed with special guests, great hooks and a flow that proves passion cannot be forced therefore sometimes we should leave rap to the professionals. Lil Wayne stated that the majority of his album was free styled in the studio. This is ambitious, talented and slightly lazy all at the same time. Turning a good album into a great album sometimes takes revision and editing which is not present on Tha Carter V.

Eminem — Kamikaze

This is unquestionably Eminem’s redeeming album. The Detroit rapper understands he’s at his best when he’s brutally honest—which he embraces on Kamikaze. We can hear him reverting back to his Slim Shady LP-era freestyle, defensive and aggressive roots with punchy comedic verses. His pop-heavy predecessor, Revival, rightfully did not score high with critics. After, Eminem was pushed in a corner and he proved no one boxes quite like Slim. When he shines, Eminem defeats any opponent in his corner. And he was smart to take stylist cues from current-day rappers on Kamikaze while still maintaining his raw self. You wanted Shady? This is the real revival of Eminem but still at times, his latest album feels only like a new chapter of the same book.

Mitski — Be the Cowboy

Mitski is a trailblazer in the indie rock circle, corralling a pack of singer songwriters as a cowboy would her herd. Be the Cowboy is a refined, accessible album and a great example of nicely fusing the past and present. She takes influence from each of her previous albums and then expands into new territory. Mitski Miyawaki’s music conservatory degree shines through elegant key changes and odd time signatures, like on Old Friend. Be the Cowboy was a hard follow to Puberty 2, especially with those peak points on the prior album including Crack Baby and Fireworks. But Be the Cowboy offers an alluring listen through and through. The album is short but every track is fulfilling to make this a classic long-form work. Mitski proves you can creatively exist in pop without being an artist playing other writers’ simple pop songs.

Thee Oh Sees — Smote Reverser

Thee Oh Sees gave us a refreshing take on a psych-rock album. Smote Reverser pushes boundaries without going off on jam tangents. It’s rooted in garage rock which provides a balanced, central focus not completely immersed in psychedelia. Thee Oh Sees prove they can dive deep (see Last Peace) as well as skim the surface (Overthrown)—fittingly. This ’60s-grounded album spotlights how to neatly mesh the past and present.

Tash Sultana — Flow State

Tash Sultana breaks out with a stellar debut album following a national festival tour that placed her on some of the most coveted stages. The multi-instrumental artist noticeably heeds influence from reggae artists, David Gilmour and ol’ fashioned peace, love and rock and roll. During her festival tour, Tash’s enthusiasm captivated the audience and that energy translated through to the album. She believes in her artistry and it comes off in Flow State with confidence and authority. The music industry has been waiting for this dazzling, looping queen.

Death Cab for Cutie — Thank You for Today

Thank You for Today is reminiscent of old Death Cab but ever since the departure of guitarist Chris Walla, a key songwriter on earlier hits, there’s just something missing. It seems like frontman Ben Gibbard had to force out lyrics that used to come so naturally to him. It’s odd to hear fits of brilliance against amateur rhymes. He’s become timid in experimentation and seems to be catering to a college demographic. Death Cab can’t relate so the album feels inauthentic. Sure, it’s not cool to be 60 and punk but 40 and generic isn’t much better. Although you’ll find gems like I Dreamt We Spoke Again, Summer Years and 60 and Punk to obsess over on Thank You for Today, the album doesn’t warrant multiple record spins.

Deafheaven — Ordinary Corrupt Human Love

Deafheaven has always been a band of innovation with a blurred genre vision; Ordinary Corrupt Human Love is no exception. They’ve become so comfortable in their own sound that when they experiment it feels like a natural evolution. From the first piano keys struck to a Eric Clapton’s Layla-esc tune to the theatrical and bold Queen-like guitar, you can tell immediately Ordinary Corrupt Human Love is not going to be as dark as its predecessor New Bermuda, or as lo-fi, thrash metal as Sunbather. It certainly wanders into familiar territory with back-to-back heavy hitters Honeycomb and Canary Yellow but treads on new ground. Ordinary Corrupt Human Love marks the first time Deafheaven has leveraged melodic backing vocals and guests on an album, with Chelsea Wolfe gloriously melding with George Clarke on Night People. With Ordinary Corrupt Human Love, Deafheaven’s latest three albums come together as a full blackgaze masterpiece but all are unique enough to easily stand alone. The band’s latest effort is not only the best metal album of the year so far but one of the best LPs to date.

The Internet — Hive Mind

The Internet gives us the perfect doses of neo-soul and R&B on their fourth album, Hive Mind. A dash of 90s hip-hop drums, a dollop of 70s funk and a pinch of the aughts alternative lean, and Hive Mind cooks us up one hell of a summer listen—all encased in a warm soothing texture. The L.A. native’s various influences and genres flow into their own signature recipe.

Lotic — Power

Hailing from the dingy basements of Germany, Lotic secured himself as a rising force in the underground scene with debut LP, Power. With dance vibes strung into the chaos of dark, dazzling intricacies, this new artist pushes the boundaries without completely breaking the mold of his electronic class. Power proves there’s no model formula to this mad scientist’s method.

Between the Buried and Me — Automata II

Between the Buried and Me crashed onto the scene in 2002 with a debut album that hinted from the start that this group was going to perfect and reinvent metal. By the time their third LP, Alaska, hit the airwaves, the band was reaching new heights, embodying a unique progressive style. The fourth album, Colors, proved the band could cross borders and explore more delicate melodies. Now, Between the Buried and Me has crossed another bridge. On Automata II, we see the band seamlessly push the limits once again, maturing, producing stronger compositions and incorporating intricate time signatures, sweeping guitars and driving, forceful drum beats to satisfy all fans. Automata II is just what Automata I needed to complete the puzzle. Their latest adventurous, carnival-like magnum opus has us wondering where the ceiling is for this individualist band, if there is one.

Dirty Projectors — Lamp Lit Prose

Dirty Projectors produced a fun album with Lamp Lit Prose but it’s not as unconventional as we’re used to getting from the Brooklyn natives. As far as creativity goes, they’ve expanded their pallet but in this particular case, that’s not necessarily a compliment. The album lacked the direction to make it cohesive. Hey, it’s bright with some catchy hooks that we can appreciate for easy listening. It’s fine to put on for a summer house party but doesn’t offer anything to keep it on a constant rotation.

Snail Mail — Lush

There is something so much more refreshing about an authentic, honest song. On Snail Mail’s debut, teenage angst and lessons learned from an adolescent seep through the lyrics and music like a page ripped from a diary. It feels like the indie heros of today are led by creative young females, with Alvvay, Wolf Alice, Mitski and Soccer Mommy all paving the way for newcomers like Snail Mail. Scoring a tour with indie icons, both old and young—Interpol and Car Seat Headrest, respectively—Snail Mail is off to a promising start.

Kanye West — ye

Kanye West kept to the point on ye, which was a smart move by the established rapper after his last effort, The Life of Pablo, came out a disorderly disappointment. Kanye goes back to his roots while keeping it fresh on ye. The album is short and sweet and, in this particular case, that’s a good thing. Albums like Yezus and ye keep us enthralled and anticipating the next album.

Father John Misty — God’s Favorite Customer

Father John Misty’s latest effort, God’s Favorite Customer, sounds like the polished B-sides off the band’s sophomore album, I Love You, Honeybear. That’s both a good and bad thing. It pulls back the overdramatic undertones and lecturing of Pure Comedy in a way that’s more relatable and sympathetic. Josh Tillman explores creative and unique arrangements and melodies that sound familiar and colorful, embodying his signature style.

Kamasi Washington — Heaven and Earth

Kamasi Washington has perfected the art of deliberate and subtle musicianship to form a delicate combination. Heaven and Earth’s opening track, Fists of Fury, sets the tone for the fiery follow-up to Kamashi Washington’s critically acclaimed, The Epic. Each song is carefully woven from a percussion foundation, eventually bursting into horns and piano in intricate perfection. Kamasi Washington makes jazz cool again by combining elements from the past and fusing them with focused chaos from the future. Timeless in composition and production, Heaven and Earth sets the bar to new heights.

Natalie Prass — The Future and the Past

Natalie Prass truly matures on her sophmore album, The Future and the Past. Taking cues from legendary pop and funk artists that came before her and incorporating styles from her stunning debut self-titled album, Natalie Prass comes back with a purposeful second effort that you can still dance to. Secure and confident in her evolution, she both losses and gains something with The Future and The Past, which is more exciting than just recreating the past.

Beach House — 7

Not since Bloom has Beach House sounded so refined, refreshed and ready to advance to the next level. That’s not to say 2015’s Depression Cherry and Thank Your Lucky Stars didn’t have their dazzling moments. Both ended up on our 2017 best-of-the-year list, but like most dual albums released in the same year (as well as double albums), there are redundant parts. 7 starts radically different. Opener, Dark Spring, seems heavier and darker than their previous album intros, letting the listener know this will be a distinct venture from the veteran group. Still, the transition into Pay No Mind is hauntingly familiar. The album sounds cohesive while maintaining Beach House’s identity through each standalone song, letting us know that this Baltimore dream pop band still has plenty of tricks up their sleeves.

Jon Hopkins — Singularity

Singularity is a microhouse work of art that is atmospheric and polished. It is the type of album that puts you in a trance but grabs your attention all at the same time. Singularity has greater depth than some of Hopkins’ previous works and is reliably intriguing. Jon Hopkins has built a career that nods at iconic influences like Brian Eno, while being psychedelic, electronic and British in a perfect combination.

Stephen Malkmus & The Jicks — Sparkle Hard

Stephen Malkmus has been making quality underground music for over 25 years. Between Pavement and his solo material he has quite an impressive catalog. His latest effort, Sparkle Hard, is adventurous and walks the line of catchy song writing and experimental arrangements. What’s so impressive is that at 52 years old, Stephen Malkmus sounds just as fresh as ever. Sparkle Hard comes as a curve in the road to please indie kids looking for something different yet recognizable, which is a difficult concept to achieve but Stephen Malkmus does it with ease.

Pusha T — Daytona

Rappers have been talking about hustling since the early days. Sometimes it’s hard to reinvent something that has been done but on Daytona, Pusha T pushed the limits and delivered us a classic. The brevity of the album, just over 20 minutes, makes it pressing. The combination of clever lines, great flow and Kanye behind the production proves that experience reigns.

Arctic Monkeys — Tranquility Base Hotel & Casino

Arctic Monkeys’ Tranquility Base Hotel & Casino has its soulful, funky moments but overall, it’s a bit lackluster. Alex Turner’s affectatious voice is well balanced by the band’s revivalist beats but it doesn’t seem to solidify Arctic Monkeys as the headliner they’ve become. But props to them for taking an ambitious turn from their other straight alt-rock releases. It just doesn’t feel like a turn in the right direction. Having said that, the album is still enjoyable and high points on it include the title track, Star Treatment and Four Out Of Five.

Cardi B —Invasion of Privacy

Mysterious newcomer Cardi B plunged on the scene less than a year ago and she’s played the Grammy’s, captivated a Coachella audience and now put out one of the most anticipated albums of 2018 so far. Her first single, Bodak Yellow, fell into our 2017 playlists like a cassette that you’d bump through a boom box in a time when rap emanated passionate lyrics, flow and originality. The young Cardi B’s raw talent is reminiscent of the battle-style verses pioneer Eminem spewed in his early days. This album proved Bodak Yellow was not the product of a one hit wonder but the intro to a new formidable player in the game. In her own words, “my little15 minutes lasted long as hell,” and we couldn’t be happier.

Kali Uchis — isola†ion

This neo-soul, funky, rhythmic, bluesy gem, Kali Uchis, is exactly what we needed to bring in the warm weather after a seemingly never-ending winter. Her debut album, isola†ion, is a consistent masterpiece. Its songs vary drastically from each other but are still crafted with precision and vision, making it sound like a cohesive art form that ever so gently demands the attention of the listener. Kali Uchis is the alluring ray of sunshine nodding to multiple genres of the past several decades. It’s a timeless album that will surely make many best of the year lists…including ours.

Saba — Care for Me

Chicago has given us some of the most explosive names in rap today, Chance the Rapper and Noname being two of them. And now we can add another name to that fast-growing list—Saba. Tahj Malik Chandler, better known by his stage name Saba, gained notoriety when he contributed a verse on Acid Rap, a mixtape from Chicago darling Chance the Rapper. Like he did on “Everybody’s Something,” Saba brings another element to rap on Care for Me; it’s inviting and doesn’t sound over-produced thanks to its soothing textures. It sounds inclusive with its warm arrangements that wrap themselves around Chicago’s young native’s clever flow. Care for Me is one of the easiest listens of the year and will keep you interested all the way through. It’ll make indie rock kids and exclusive rap fans agree on one thing—Saba is a forthcoming staple in a genre where we’re yearning for something new.

Janelle Monae — Dirty Computer

Even if you eliminated the hype around the album, the list of impressive collaborators (examples of which include Brian Wilson, Grimes and Pharell Williams), the clear nods to Prince and the influence she drew on from being a newly-identified pansexual, Janelle Monae’s most recent effort, Dirty Computer, would still be a fantastic album. But add that all in and it’s must listen. The album is relevant and makes you want to embrace her story. Dirty Computer showcases confidence, self and sexual awakening, authenticity and freedom with a dangerously carefree approach.

Okkervil River — In the Rainbow Rain

Okkervil River’s In the Rainbow Rain adds to the band’s extensive roster of albums stemming back to 2002; all are upbeat, easy to listen to and welcomingly unique. The verbose and dramatic ringleader guides the band through storytelling and instrumental hooks that are fun and enticing. In the Rainbow Rain has some peak points and will surely be enjoyed by Okkervil River fans but the album never quite reaches any significant height to boost the band and its discography to the next level. A lateral move is a move nonetheless and we’re excited to see any other new releases they feed us.

Superorganism — Superorganism

We’re in a period of musical mass consumption and over saturation. So how do you differentiate yourselves from the pack? Get eight young creative minds together to match a perfect blend of vision, hooks and energy to produce one the most standout albums of the year to date. The visual component leverages the album’s bedroom-pop melody to deliver the psychedelic chaos of the Flaming Lips infused with the sing-along dreamlike vibe of CHRVCHES’ debut album: The Bones of What You Believe. It paves the way for more artists to experiment with graphics to make an ultimate album experience. The content is a consistent story that comes full-circle. Not since MIA’s hit Paper Planes, have sound effects felt so fitting—whether they be car horns, water or casinoesque chimes. The subtle vocal approach they take on this pressing dance album will even have the snobbiest hipsters bobbing their heads. Superorganism’s debut is addictive and engaging, spin after spin.

David Byrne — American Utopia

Of course one of the most anticipated albums of the year is the first full-length record in a decade from new-wave pioneer David Byrne. The Talking Heads frontman, and frequent collaborator with St. Vincent, has its way of throwing a well-received curve ball our way time after time. The opening track, I Dance Like This, is a promising start to the album, reminiscent of the late David Bowie’s final masterpiece, Black Star. It is both talented and weird, showcasing Byrne’s signature avant-garde voice. However, the album quickly tapers off with mediocre songs, corny lyrics and unnecessary dramatics. There are hints of Byrne’s brilliance here and there but it only makes for an average album to add to his overall impressive collection.

Jack White — Boarding House Reach

Jack White always goes off the beaten path through whatever innovative ventures he pursues—whether it’s beloved indie, garage-band rock band White Stripes, blues-rock supergroup the Raconteurs, Americana ensemble the Dead Weather or his ambitious solo endeavors as Jack White. He believes in his own vision and project which is welcoming to embrace. On his third solo album, Boarding House Reach, Jack White breaks out of his comfort zone which oddly feels more comfortable yet experimental—not unlike his live shows. White produced the album and played the guitars, drums, organs, synthesizers and vocals so it’s truly his vision. Boarding House Reach sounds unorthodox; more like a live Jeff Beck album that Jack would have listened to in his garage as a teen, dreaming of the rock icon he would someday become.

Soccer Mommy — Clean

Indie’s latest darling, Soccer Mommy lived up to expectations, releasing one of this year’s most genuine, simple and likable studio debuts so far. With subtle arrangements and catchy songs, Clean, takes you through a journey of adolescence with all the feelings of anxiety, insecurity, obsession and everything else that comes along with growing up that are both fond and cringeworthy. Soccer Mommy portrays life as a young adult with honesty and confidence.

Kacey Musgraves — Golden Hour

These days it’s hard to find a true singer-songwriter that has skill and soul while packaging it all together to produce a cohesive pop album. On Golden Hour, Musgraves eloquently combines pop and country with a twist of ’90s alternative rock and makes it sound effortless. She takes her own advice made five years go—to follow your arrow. We’re optimistic that it will lead somewhere great.

Ezra Furman — Transangelic Exodus

Ezra Furman is catching the attention of critics and the masses alike with their latest effort, Transangelic Exodus, and for good reason. His experimental approach to arrangement and dynamics while reaching across multiple genres is reminiscent of other eccentric artists like Conor Oberst’s Bright Eyes. Ezra Furman’s theatrical voice enthralls the listener deep into his story (or the one he’s telling at least) and keeps you wanting more with each drastic but cohesive turn the album takes. The album is culturally relevant and pressing. Its unique style pulls from the singer-songwriters of today and nods at the legendary acts of the past to create a timeless work of art. Transangelic Exodus rightfully goes down as Track Mark’s first five-star album. Like (Sandy) Alex G did just one year before him, Ezra Furman is hinting to indie snobs everywhere, who long for the next Transatlanticism or The Moon & Antartica, that a classic is not so far into the future.

Car Seat Headrest — Twin Fantasy (re-recorded)

Car Seat Headrest’s Twin Fantasy is really good but it would have been fantastic had it not followed its hit predecessor, Teens Of Denial. After its release, the band became an anticipated mid-tier festival act, and topped many year-end lists. Fast forward to the release of Twin Fantasy. The new album is great, incorporating the perfect dose of nostalgia. However, it also slightly feels like a blast from the past you’re curious about but dread spending what will surely be an entire night out with.

Gogo Penguin — A Humdrum Star

Gogo Penguin’s fourth album is a refining moment for them and easily their best to date. The jazz trio perfected the art of both simplicity and complexity. Simple in that they sound as if they hit every note with ease, but make no mistake, the trained ear can tell how intricate their compositions are. A Humdrum Star’s awkward accents and unique rhythms provide listeners with a fresh take on jazz, a genre so many youngsters mistakenly ignore.

MGMT — Little Dark Age

I wouldn’t say MGMT’s Little Dark Age is necessarily a step up from previous albums but it’s a transitional turn in the right direction and it fits elegantly in their discography. It pulls from Ocular Spectrum’s and Congratulations’ synthpop and neo-psychedelia influences, while maintaining its own weirdness. It doesn’t reach the peaks of either album but the compromise is welcoming.

Reggie and the Full Effect — 41

Reggie’s still Reggie and that’s both inviting and restrictive. While his arrangements and artistry may have matured, it’s apparent his lyrics and outdated post-emo style of singing haven’t. Still, to say this guy can’t write one hell of an anthem chorus would be absurd. His signature use of the moog synthesizer is heartwarmingly familiar. The album is great for people trying to rehash their glory days, which clearly Reggie is too.

Dave East — Paranoia 2

This is a Harlem rapper doing something more interesting than his predecessors and rivals. He seems to be pulling from the influence of legendary rappers like Nas and super groups like Wu-tang Clan, while maintaining his own style. In a marketplace full of heavy weights, Dave East, is a breath of fresh air.

tUnE-yArDs — I Can Feel You Creep Into My Private Life

Although Tune-yards latest release won’t stand up to its groundbreaking debut LP, WHOKILL, it still tips its hat to the appealing style of Afropop and will keep you dancing all night long.    Songs tackle some serious issues but the album has a fun, entertaining vibe and adds to the group’s strong catalog.

Typhoon — Offerings

On its third LP, Typhoon, secures itself as one of indie rock’s most fascinating acts. Pulling from old lo-fi veterans like Arcade Fire and new acts in the same category, e.g. Sandy (Alex G), Typhoon’s 11-piece band, and subtle yet poignant composition, leaves something to appreciate. Throughout the album, there are times you’ll have to be patient (it’s an album that demands your attention) but the payoff is well worth the wait.

Nils Frahm — All Melody

This album explores dynamic like no other. It’s an assortment of tones and melody that has the delicacy of everything from a cinematic score to grace of space to just the right amount of clutter. On his latest album, Nils Frahm dives into ambiance, with the intent, it seems, to free your mind up to wander deep in thought.

Khruangbin — Con Todo El Mundo

In a world full of cliché hooks and juvenile pop lyrics, Khruangbin opens the door to an semi-instrumental take on psych-rock music. Armed only with his Suhr guitar and nearly perfect tone, frontman Mark Speer thrives on jamming with ease and certainty. Overshadowed a bit by their prior album, The Universe Smiles Upon You, this quality release is lacking something its predecessor didn’t.