The harshest and most consistent album of their career.

This all flows well and is quite a good piece of mood music, yet there's no hiding that for all their political stances and past reputation, Cornershop doesn't really have all that much to say this time around, nor have they delivered more than a handful of songs to have all this stick.

Grand and flirting at the same time with the ridiculous -- the kind of disc to listen to when you are in love.

To sum it all up succinctly, there is no shortage of psychedelic jams to be found throughout Quest for Fire's Lights from Paradise.

This scattershot feel makes Tween something mainly for die-hard Wye Oak fans who want a peek behind the curtain, or for anyone curious about how they managed to make the daring stylistic leap from Civilian to Shriek.

Throughout the album, the duo maintain a balance between daring production tricks and direct feelings, producing futuristic experimental pop that builds on the two producers' combined histories while pushing things further.

Even without the conceptual framework, Harlecore is a briskly entertaining look back -- and forward -- at some of EDM's fizziest, gaudiest sounds.

If 40 oz. to Fresno isn't the most ambitious entry in Joyce Manor's discography, it is at least one of their most enjoyable.

Only time will tell, but at this point Courting are delivering some smart, bracing fun that will keep you guessing in plenty of good ways.

The follow-up, Portrait of a Dog, leans more heavily into jazz influences, including instrumental explorations and improvisation, while still processing the familial and adding a breakup to the mix.

Far from a rehash of Cuz I Love You, Special finds Lizzo revealing new layers to the genuine songwriting and generous spirit that has defined her music since the beginning.

Sadness lurks upon the edges of the record, as does rage, but Little Rope ultimately feels cathartic: by processing Brownstein's loss and dwelling upon their shared bonds, Sleater-Kinney once again feels united and purposeful.

Peaceful and undeniably pretty, this is an album that should please many Sparklehorse fans, even if it doesn't challenge them the way Good Morning Spider and It's a Wonderful Life's best moments did.

At a lean ten tracks, Surviving quickly makes its point, pushing through years of pain and emotional turmoil by setting sights on a stronger, more confident future.

Pretty Little Head sounds like a record from a woman coming out of girlhood -- more confident, more wise about love, and more focused about her concerns, if no less passionate.

Lookout Mountain, Lookout Sea reveals more poetic, as well as playful, layers with each listen--and above all, underscores what an inviting songwriter Berman is, whether he's taking a darker or lighter approach.

Seemingly undaunted, Seth Olinsky, Miles Seaton, and Dana Janssen recruited engineer and co-producer Chris Koltay, and enlisted nine other musicians to create the most far-reaching, margin-breaking set of the band's career to date.

The lead single is a powerhouse of dance waves and infectiously produced beats, but the album doesn't always stand out as definitive, even though it's consistently fresh and innovative.

Released just a week after his self-titled fifth effort, Future's HNDRXX provided an introspective and confessional complement to the more extroverted Future.

Nostalgic throughout, yet often more affectionate than bittersweet, Gold Past Life represents another consistently strong set from Johnson, one with melodies and sentiments that linger.

Minor issues aside, Made of Rain is a fine and sometimes inspired comeback. It may not be Talk Talk Talk, Pt. 2 or Forever Now again, but it proves the Furs still have plenty of life left in them, and it's always nice to hear Richard Butler's voice no matter what the setting.

Leaders of the Free World is a bit more rock & roll than not, with guts and heart, because Elbow have finally embraced their powerful, surrounding space this time out.

Ahe stumbles when she gets lighter, particularly on "Family Is Family," where it seems like she can't wait to be rid of those leeches--but it's hardly enough to prevent the album from being a rich, enchanting collection of stories, confessions, and the occasional joke.

He's still writing finely observed vignettes that manage to intersect life as we live it with life as we wish we could live it, and as such, he has more in common with a short story writer than he does with the typical singer/songwriter.

Never before has the singer infused more mainstream rock elements (prominent strummed guitars) into her music.

Kids in the Street doesn't sound or feel like a masterpiece, but it does suggest Earle was aiming higher than expected for this album, and he hit the target--this is among his very best work to date.

A surprisingly strong and assured record.

The first listen or two to World Painted Blood might be a bit confusing for the seasoned Slayer fan, but that changes quickly, and the sound of those drums blasting in one's head will become a more than welcome presence in the mix.