Since her voice is clear and lovely, the songs are tuneful without being flashy, and the production is quiet, subtly layered, George makes All Rise seem easy, and it's only when the record is over that it dawns on you what a rich, rewarding album it is.

[A] knack for re-creating the already re-created sounds of their peers keeps rearing up on Hurricane Bar, and it docks the album points in the genuineness department.

As a whole, it feels a bit too laid-back, especially given its nearly 70-minute length.

While Best Intentions doesn't reinvent the wheel, listeners will enjoy spending some more time with We Are the In Crowd.

Nothing here reinvents country, but what the Dirt Drifters do is sound natural and grounded with their sound.

It's all arranged like a well-sequenced album, with some tracks slightly altered for the sake of maintaining a steady flow. No energy swing is jarring, yet it's no sonic flatland. It suits its purpose with a dark, warm glow.

All in all, Here We Are is a promising debut, and Citizens! manage the impressive feat of borrowing from lots of different eras--'70s glam, '80s synth pop, '90s Brit-pop--without drowning in nostalgia.

Even at a well-established level and decades into his craft, Vai takes some surprising risks on The Story of Light, and the album almost always benefits from them.

At times, Nanobots feels like Join Us' more melancholy flip side, and even if this album isn't quite as immediate as the one before it, it shows how They Might Be Giants can continue in the vein they've excelled at for decades and build on it, too.

Although Cullum got his start during the jazz singer boom of the early 2000s, with Momentum he's proven once again to be a musically eclectic songwriter with more than enough creative speed to keep him going for years to come.

While these few songs ["Losing a Friend" and "That Girl, That Scene"] threaten to derail the album, the rest of the set is more unified, offering an understated but brilliant celebration of both Frankie & the Heartstrings' unique songwriting and their catalog of classic pop influences.

The warmth of the album comes through in the songwriting, its lyrical content, and the soft-edged production, capturing an insular sense of self-exploration as well as something more universally reaching.

This is essentially a greatest hits that offers no real surprise in either songs or arrangements (the exception being "It's Only Rock N Roll," which now sounds more Chuck Berry than ever), but that doesn't mean Hyde Park Live isn't satisfying.

While Allen either wrote or co-wrote all the tracks on the album, it's his stellar and flexible guitar work that is the highlight.

In the end, it's an admirable and interesting effort where the highs offset the lows, but those with molly in hand and dancing shoes on feet should just cool their jets and get ready to sit a spell.

While the jumping-off points are clear, enough personality and disjointed arrangement keep More moving along in a way more familiarly dreamy than derivative.

I Don't Dance may sink its teeth in slightly slowly, but that's Brice's style: he lets the listener come to him and, once they're there, he offers a warm seduction that lasts not just for a night but for a relationship.

While Crushed Beaks' mix of brash and dreamy sounds is promising, it often seems like they're still figuring out how to make it work.

More atmospheric than their regional contemporaries Baroness, but just as keen on opening up the blast furnace doors when an exclamation point is needed, Royal Thunder spend much of Crooked Doors skillfully dancing around the almighty power ballad (the Nazareth radio standard mentioned earlier looms large throughout), but not truly succumbing until the very end.

Sparks still sounds like she's finding a voice of her own.

An album that deliberately side-steps many of Thomas' signature moves while still sounding unmistakably like him.

It's unapologetically slick with major pop aspirations, but the Arkells have shown that they can play to the masses while continuing to challenge and entertain themselves.

This is undeniably a Julie's Haircut record, which is as surprising and genre-defying as you'd expect.

The album feels intimate and delicate without sounding rustic. The album always maintains an undercurrent of fear or despondency, but it never gets too overbearing, and stays intriguing throughout.

With II, L.A. Takedown have constructed a somewhat chilled but still frequently exciting vision of Los Angeles, rooted in the '80s but letting other eras and locales seep in.

To dive into Whale City is to immerse yourself in the stranger side of rock & roll, but it's worth losing your mind over.

High Water I will satisfy those fans who have been missing music that sounds like the Crowes--it's much bolder and simpler than Rich Robinson's appealingly rambling Flux, for instance--but it's also true that the Magpie Salute doesn't attempt to do much here but hit their mark with precision.

Despite all of its lofty mysticism, Levitation never feels exclusive. The walkabout that served as the narrative throughline on Majesty has morphed into a full-on hallucinogenic dance party, with that journey to enlightenment now being extended to the listener.

Whether or not the Allman Betts Band will make any hard left turns from their chosen path remains to be seen, but two albums in, their dogged adherence to family and cultural traditions remains their defining feature.

The Wizrd proved that Future can still make career highlights after over a decade of releases yet the formulaic, playlist-packing INLY joins High Off Life as a mediocre interlude in the rapper’s career.

With a more congruous title, "Anxiety's Rainbow" is an album highlight for its marriage of rousing melody, dissonance, and groove, while the rest is interesting enough to hope for more from this ambitious isolation-induced project.

It contains the power and dynamics and splendor of her very best material, but because it is a work of classical crossover, any expectation of pop hooks or singalong choruses will be met with disappointment; consequently, its sophistication, elegance, and poetry will reward anyone who takes the proper time to absorb it.

Only John Petkovic can say how effective Love and Desperation is as therapy, but as chest-thumping and bong-rattling rock, Sweet Apple's debut is a rousing success.

Untogether's aloof beauty comes as something of a surprise given how free-flowing and whimsical Blooming Summer was, but while this change takes some getting used to, it's an impressive debut from a group that has taken the time--and space--to refine and develop its sound.

It may be an intentional shift, but the soulful resonance of 2012's The End of That has given way to an artful experimentalism that, while musically impressive, doesn't make as big an impact. Still, it's an ambitious near miss from a very good band that has proven it can be both cerebral and heartfelt.

Funhouse is a ride, empowered by her post-divorce freedom. In a way, that does make Funhouse unique among divorce albums, as it's the first to concentrate on liberation rather than loss--but if she was going to go in this direction, Pink may have been better off not pretending that she's bothered by the breakup.

Even if there's nothing inherently new about the band's take on rock, and at times they seem too comfortable coasting on trends from the mid-2000s, Delta Spirit manage to convey a likeable sound that is strong and intimate at the same time.

Breathy R&B vocalist Jhené Aiko fleshes out her character on Sail Out, a relaxed debut EP that suggests that this girl is on permanent vacation.

A tribute to the late P-Funk guitarist Garry Shider and an appearance from Bootsy's older brother Catfish Collins -- who died before the album saw release -- add poignancy to this rich and funky success.

There's a very good Melvins album leading off A Walk with Love & Death, but the rest of it is only going to agree with a tiny numbers of fans, though it could make an effective musical backdrop for your next Halloween spook house.

Forever Neverland contains enough catchy moments to warrant a listen, but mostly remains fodder for de rigueur 2010s alt-pop playlists.

Broderick was once as integral to Horse Feathers’ sound as Ringle himself, but Thistled Spring doesn’t stumble in his absence, and the retooled lineup pairs well with Ringle’s warming disposition.

Metal Galaxy tweaks the recipe just enough to feel fresh while maintaining the meticulous attention to detail and decibels that have made the group such an unlikely international success.

[A] majestic soundscape.

Pearl and Eatherly don't escape their past entirely on Break It Up, but they're well on their way to waving goodbye to it.

Emotion-wracked, ultra-melodic, and filled with jams (both fast and slow), this is an impressive debut from a band that could easily end up reaching some seriously lofty heights.

Fans of Oneohtrix Point Never, Virginia Astley, Lars Von Trier, and even Chairlift should find Ramona Lisa's debut a rainy-day soundtrack of the highest order.

Without drastically cleaning up their act, the album turns in a subtler, more thoughtful take on some of the same contradictory themes of enthusiasm and bitterness that made their debut so enjoyable.

Malik's reliable vocals and the top production quality deliver the goods, but here's hoping the restrained ideas on Konnakol yield a more liberated approach next time around.

Even if Woman sometimes sounds more like two EPs than a cohesive set of songs, it's still an enjoyable album--especially when Justice use their flair for looking back creatively.

It's meant to be taken as surface, perhaps skimmed for samples, but generally to be used as mildly unsettling mood music--a specialty of Reznor's, to be sure, but he's better and scarier when his ideas are more finely honed than they are here.

In Ghostlike Fading is a low-key debut, full of mellow, worn-in songs replete with extended jams, guitar maelstroms, and harmonicas.

Overall, it's an impressive debut that's sure to make fans of any of the bands the trio came from really happy.

Everyone involved should make a concerted effort to do it again, because the album works on so many levels. It's an absolute joy that both hip-hop lovers and Brazilian music fans will be able to appreciate.

Wayne Coyne, Steven Drozd and company soften some of The Terror's rough edges in favor of a more eclectic, melodic sound that spans hip-hop, prog, and orchestral elements, sometimes in the course of a single song.

If the show doesn't quite manage to be memorable, it is certainly engaging, a worthwhile 38 minutes even if it doesn't quite have much more than a historic hook to warrant repeated plays.

Not every song is a keeper, but the strong songs carry the less-engaging moments and Mostly No ultimately becomes a drifty summer soundtrack.

One quick listen to The Messenger brings all his signatures rushing back--the intricate, intertwining arrangements, the insistent riffs finding a counterpoint in the elastic yet precise melodies, a romance with the past that doesn't negate the present.

Aside from a few monochromatic shades, there's not a lot of variance here and each track arrives at its four- or five-minute terminus at roughly the same languorous pace. For a project based on amorous and sensual pleasures, Cigarettes After Sex feels a little too one-dimensional.

Tokyo Police Club worked with co-producer Doug Boehm, who has also collaborated with the French Kicks, and Forcefield often recalls how that band managed to sound sophisticated and unpretentious at the same time

Ultimately, So Long, See You Tomorrow is highly engaging, thoughtful, kaleidoscopic pop music for citizens of the world.

Freedom sounds as furiously principled as this group has ever been, and it's a liberating, hard-hitting exercise in punk for smart people.

Hard Candy is the sound of a band at a creative and poetic summit.

Despite Lucky's glossy, easily digestible tendencies, it still burns bright with the usual Etheridge fervor.

This easily stands alongside his first three albums as a set of classy, near-irresistible pop for listeners weaned on classic and college rock, which is a wholly welcome surprise.

Aerosmith sound reinvigorated, even liberated from the need to have a hit power ballad, and they tear through these 12 songs with an energy they seemed to lose sometime after Pump.

Like its predecessor, Golden Greats meanders a bit too much and it places a little too much emphasis on surface, but when the surface sparkles like this, it's hard to complain too loudly.

There are occasional lapses in the lyrics department.

It's the first time Adams has sounded completely worn out and spent, bereaved of either the craft or hucksterism at the core of his work.

the album is simple ear candy for those who haven't studied the band's previous releases, and sweet resolution for those who can spot the references to older songs (specifically 'Blood Red Summer') and former riffs ('The Crowing').

While not all of the remixes hit these heights, overall it's a fun set, and a good complement to the eclecticism of D-Sides' first disc.

Though her voice has yet to fully develop and lacks the uniqueness running through her bloodline, it's clear she landed a major-label contract on the basis of her talent.

The aim over too much of this record seems to be simply getting Kate Nash airplay without worrying overly much about a musical backing that suits her songwriting.

Samurai is easily Joakim's subtlest album yet, and it's easy to see why it's such a personal, sentimental statement for him.

Taken as a reaction to toxic politics, a relentlessly discouraging news cycle, and generally raw emotions, Vitriola is a beautiful slice of wild anger. While it can feel relentless at times, these songs find Kasher and his bandmates swinging at anything that moves with all the passion and power of their best albums.

Clocking in at over an hour, there's enough here for all types of fans to enjoy and rejoice that the guys have returned.

Digging its claws in after repeated listens, the result is a more nourishing experience that could have longer legs as time goes on.

It finds that the guys don't just still have it, but they sound goddamn rejuvenated, bristling with electric energy and undeniable fervor.

Yungblud is fun, catchy, and very accessible, offering punk spirit without ever being truly dangerous or too explicit.

Barbie: The Album is a celebration as colorful and uplifting as the movie itself, and both are highly recommended.

With this hybrid sound in their arsenal, Silverstein don't need to worry about reinventing the wheel, but rather are able to think about refining the very good wheel they've been selling for over a decade. While this approach probably isn't going to make new fans out of anyone who just doesn't get what the band is going for, it certainly makes Rescue an easy sell for the initiated.

If you're riding and vibing with Lorde, this bright shapelessness is superb mood music. If you're not riding her wave, Solar Power can seem elusive, even cloying, as it circles and sways with a smile.

The music alone nearly justifies the cost, improving on the dense atmosphere pervading Aesop's mostly self-produced Bazooka Tooth, and returning ace producer Blockhead to his prime role in the control chair.

NY's Finest is a good, solid listen from a deservedly respected member of the hip-hop community, but it's also nothing that will blow you away.

Journey to the West is perhaps best experienced on-stage, as it was meant to be heard in tandem with Chen Shi-Zheng and Hewlett's visuals, but heard as its own work, it's hard not to admire, if not exactly embrace, Albarn's achievement here, as his work is not only ambitious, it is serious and understated, the work of a true composer.

There's no need to search for deeper meanings or enlightenment on Internationally Unknown. Instead, Cardy and Armstrong invite listeners to let go and enjoy the ride, which is an energetic, wild blast.

Call it the signature of a surfer so bleached by the sun that he rushes nothing, but To the Sea substitutes the sunset strum-alongs of his earliest records for a sleek daytime sheen that might glimmer too brightly for hippies but it makes for a better overall pop record.

Without the energy and the sonic thrills, they are just another pop band making music that's little more than a momentarily pleasant diversion.

Raw but accomplished, tuneful yet noisy, on In the Belly of the Brazen Bull the Cribs are more comfortable with their contradictions than ever.

While these kinds of weird departures would be hard for any other band to pull off, Tres Cabrones shows that, even after 30 years, the Melvins are still as brash as ever, and the album feels like a fitting way for the band to ring in a big anniversary with an old friend who was there at the very beginning.

Eight cuts from the bookish indie rockers, including early favorites.

While there's some charm in the fact that Seger is loose enough to keep his ends untied, Ride Out is hobbled by that exacting production: conceptually, it's something of a ragged mess and it'd benefit from sounding like one.

Outwardly it's a fun album, triumphant and full of majestic refrains and riffs... but there's still something in it,... that makes it somehow all very sad.

This album isn't going to win Halstead too much favor critically or commercially, but anyone who holds songcraft, emotional restraint, and melodic grace in high regard should give the peaceful and sincere Oh! Mighty Engine a chance.

If in Both Sides of the Gun Harper is trying to show his audience what a wide variety of music he can cover, he certainly accomplishes that. But if he's trying to create an album that is really about him, he doesn't quite deliver. Ben Harper is in there, don't worry, but he can be a little hard to find.

This is a sleepier record than 2005's Dimmer, but it rewards the careful listener with enough waking dreams to fuel a hundred overcast Sunday mornings.

So while the performance isn't perfect, particularly toward the end of the show (where, after two hours of performing swing tunes and jazz standards, Wainwright is understandably low on steam), it's still nice to hear the singer in his element, crooning about dinging trolleys and zinging heartstrings with flamboyancy that only he can muster.

Light and pleasant, Run for Cover is also backed by a band that knows how to accompany all this vocal loveliness.