Editors' Choice for January 2016

Album cover for Promise Everything

Promise Everything

Run for Cover Records

The third full-length album of '90s-inspired grunge and melodic noise-rock from the British outfit.

— Matt Collar

Album cover for 8 of Cups

8 of Cups

Carpark Records

Exciting, inventive album of complex rhythms and vocal samples from the Baltimore electronic musician previously known as Adventure.

— Paul Simpson

Album cover for Bloodiest

Bloodiest

Relapse Records

Five years after its debut, the Chicago post-metal supergroup is back, sounding heavier, darker, and more experimental.

— Thom Jurek

Album cover for In Ruin

In Ruin

The End

The fourth studio long-player from the Canadian retro-metal torchbearers is their best yet.

— James Christopher Monger

Album cover for Moth

Moth

Columbia / Sony Music

The duo's third album is a shiny slice of modern pop with enough great songs and weirdness to help them stand out from the crowd.

— Tim Sendra

Album cover for Night Fiction

Night Fiction

Woodsist

The Irish guitarist and his Cosmos deliver his first vocal album, revisiting a wealth of rock & roll influences along the way.

— Thom Jurek

Album cover for Evolution

Evolution

Blue Note

The Hammond B-3 icon makes his Blue Note return with this dynamic soul-jazz showcase.

— Matt Collar

Album cover for The Astonishing

The Astonishing

Atlantic / Roadrunner Records

Even in a catalog noted for its concept albums and sprawling ambition, this two-plus-hour rock opera pushes the band's envelope.

— Thom Jurek

Album cover for Promise

Promise

Lefse Records / Thesis & Instinct

Elegant, occasionally eerie, collection of austere art-pop poems.

— Stephen Thomas Erlewine

Album cover for John David Souther

John David Souther

Omnivore

Expanded reissue of the songwriter's first solo album is a touchstone of countrified soft rock, rivaling his work with the Eagles.

— Mark Deming

Album cover for Para

Para

Ghostly International

Deeper and richer second Ghostly International album from crafty synthesist Chester Raj Anand.

— Andy Kellman

Album cover for Dystopia

Dystopia

Universal

The band's 15th studio album reveals a reinvigorated Dave Mustaine and a new lineup with Lamb of God drummer Chris Adler.

— Thom Jurek

Album cover for Suicide Songs

Suicide Songs

Bella Union

The enigmatic Manchester band returns with an expanded palette for an intense but tuneful sophomore LP produced by Charlie Andrew (Alt-J).

— Marcy Donelson

Album cover for Curve of the Earth

Curve of the Earth

Caroline

A sumptuous distillation of the myriad styles that the London psych-rockers have been weaving in and out of over the years.

— James Christopher Monger

Album cover for Glacial Glow

Glacial Glow

Fire Records

Sarah Lipstate's 2011 full-length was a refinement of her atmospheric guitar-based sound, containing her most melodic material to date.

— Paul Simpson

Album cover for Marble Mouth

Marble Mouth

Polyvinyl

Produced by Of Montreal's Kevin Barnes, an invigorated rhythm section makes for a sophomore release that feels like a big premiere.

— Marcy Donelson

Album cover for Inside the Future

Inside the Future

Glass Records Redux

The Glaswegian composer, singer, and songwriter confronts the folk tradition with sparse, fragmented, beguiling, and accessible tunes.

— Thom Jurek

Album cover for Martyr Loser King

Martyr Loser King

Fader Label
Rap

Justin Warfield joins the poet, rapper, and artist on a challenging and compelling concept album.

— David Jeffries

Album cover for Jet Plane and Oxbow

Jet Plane and Oxbow

Sub Pop

The band's politically charged, '80s-inspired ninth studio album invokes names like Tears for Fears, Talk Talk, and Peter Gabriel.

— James Christopher Monger

Album cover for Weighted Mind

Weighted Mind

Rounder / Rounder Records

In her first record in five years, the mandolin virtuoso reinvents herself as a singer/songwriter with chops intact.

— Thom Jurek

Album cover for Arts & Leisure

Arts & Leisure

Ile Flottante Music

The former Walkmen member delivers a warm, witty second album that is equal parts memoir and meditations on art and mortality.

— Heather Phares