Tony Allen, “There Is No End”
This posthumous LP is less a grand finale summing up a career than it is another piece of a greater puzzle.
Big Mother Gig, “Gusto”
There’s a loose recklessness to these classic alt-rock melodies that convey being stuck in a rut—but also the determination to get out of it.
Various Artists, “Arc Mountain”
The new comp demonstrates just how comfortable Deathbomb Arc’s vocalists are working over borderline-nonsense electronics courtesy of Hausu Mountain.
Sam Valdez, “Take Care”
Valdez’s debut blends airy vocals with atmospheric reverb to create an indie pop experience that’s decidedly Californian.
The French prog metal collective’s seventh album is a tornado of blastbeats, guttural growls, and devilish incantations.
Angel Olsen, “Song of the Lark and Other Far Memories”
The bonus LP of B-sides provides a sense of completion to Olsen’s “All Mirrors” era, although the set as whole feels a bit uneven.
Sufjan Stevens, “Convocations”
This 49-track space odyssey is a precarious and complicated release, like a a laugh escaping the mouth of someone too tired of weeping.
Mother Nature, “SZNZ”
The tonal shifts on this mixtape seem as unpredictable as Chicago’s climate, showcasing a wide variety of boom-bap boasts and playful reflections.
Mia Joy, “Spirit Tamer”
Mia Joy Rocha’s debut set of dirges sprinkled with honeyed lullabies are sure to drop you into an unexpected dreamscape.
Dorothea Paas, “Anything Can’t Happen”
Paas’ debut is made intriguing by complex, lush contours and eclectic lyricism.
Body Meat, “Year of the Orc”
The latest EP from the Philly glitch-pop experimentalist is like Mentos in Diet Coke.
John Lennon/Plastic Ono Band, “John Lennon/Plastic Ono Band: The Ultimate Collection”
This remastering of the ex-Beatle’s solo debut sees wealths of emotion poured out in ways previously unimaginable.
Pink Floyd, “Live at Knebworth 1990”
Like the band itself, the selected arrangements are rich, bold, and magically transportive.
Dinosaur Jr., “Sweep It Into Space”
Their 12th record tries to reach a singular vision, but it’s hard not to hear the many voices attempting to roar as one.
Teenage Fanclub, “Endless Arcade”
The group’s 11th album is an agreeable, yet predictable, verse-chorus rock album with plenty of pop accoutrements.
Skullcrusher, “Storm in Summer”
Helen Ballentine’s sophomore EP is just as resplendent and poignant as that first release.
Alan Vega, “Mutator”
The posthumous release from the late Suicide singer is a time capsule of the industrial sounds of ’90s NYC.
Flock of Dimes, “Head of Roses”
On the outfit’s second LP, Jenn Wasner refrains from giving in entirely to obvious melodies and instrumentation.
Kero Kero Bonito, “Civilisation II”
From the EP’s get-go, it’s clear the trio is unafraid to continuously push creative boundaries.
Spirit of the Beehive, “ENTERTAINMENT, DEATH”
The band’s first album for Saddle Creek is a sprawling odyssey of haunting dissonance and blissful euphoria.
The Who, “The Who Sell Out Super Deluxe Edition”
Overstuffed and unified, this deluxe reissue has all the freneticism of its initial ideal whole.
Vic Mensa, “I TAPE”
The EP feels more like a party with friends discussing the nation’s state of shock than it does a staid studio session.
Paul McCartney, “McCartney III Imagined”
McCartney’s collaborators transform the project into a rock anthology, blending younger sounds with those explored on the original record.
Sharon Van Etten, “epic Ten”
This reissue is two albums at once, ranging in creative impact from Van Etten’s ghostly harmonies to IDLES’ industrial wallop.
This self-titled debut draws on the members’ vast pool of experience, as well as the chemistry of their intertwined personal lives.
Floatie, “Voyage Out”
The “frog rock” quartet’s debut is an unforgettable collection that blurs the lines between math rock, art pop, and jazz.
Moontype, “Bodies of Water”
The Chicago trio’s knack for uplifting lyricism and energetic arrangements sets them apart from their peers.
Laurie Anderson, “Big Science” [reissue]
Re-released on red vinyl by Nonesuch Records, this major-label debut is still a delectably odd beauty.