They've always existed in their own space, and Trouble is yet another fine example of their fascinating art.

Young Thug presents his best case for inclusion in the pantheon of hip-hop influencers with JEFFERY, a release as inspired as it is inspiring.

A dark, turbulent, and welcome entry in Walker's catalog.

Coomes knows he's not for everyone, and that lack of self-consciousness is one of the album's biggest strengths, but listeners with short attention spans and a low tolerance for eccentricity might want to stick with a more commercial brand of sonic weirdness.

This may be Cline's quietest recording, but it is one of his finest.

It's chock-full seductive, attractive melodies and sweet singing, but its lyrics are searing enough in their emotional and spiritual honesty, that they cut to the bone. Great.

How to Be a Human Being's sense of wonder and joie de vivre feels as instructive to Glass Animals as their listeners, and their willingness to try anything results in some truly great moments.

Even if Amnesty lacks some of the intensity of Crystal Castles' earlier work, it accomplishes the tricky task of providing common ground and a fresh start.

Some of the album's more delicate tracks still feel a little formless, and there are a lot of other bands mining similar musical territory, but The Hanging Valley's best moments suggest Cold Pumas are just tapping into their potential.

Worship the Sun was pretty great garage rock revivalism filtered through a gently psychedelic filter; Calico Review might be even better.

Devastating yet optimistic, Splendor & Misery is a stunning leap forward for clipping., and one of the most impressive albums of the year.

As a whole, Home Wrecking Years is worth a number of complete spins to let it decant and work its magic.

It's a densely packed power lunch proving that Furman might be brimming over with enough good ideas to warrant an EP every couple of months.

Of Monkees & Men is above all a Scott McCaughey album. Even the most playful songs are deeply personal, leaving no doubt about how much the Monkees meant to him in 1966 as well as 2015.

Exodus of Venus is an achievement both redemptive and transformative.

Yes, the references are abundant--in an homage, they're supposed to be. Wobble employs them with a curator's taste; his skill as a bandleader creates space for disparate tongues to communicate before evolving into a different musical language--his own. Everything Is NoThing is a monster.

In its own claustrophobic, expansive, debauched, and sardonic way, 25 25 proves that less truly is more for Factory Floor.

On the whole, it's an engaging debut with memorable tunes that should be tried on by fans of any of the above-mentioned bands or melodic descendants of post-punk and Brit-pop.

The elements that are new here play out like a means to an end for a songwriter with a tale to tell, one chock-full of raw emotions. The songs stand just fine on their own, too, out of context.

Brettin tries a lot harder to sound weird on Skiptracing than he did on Timeline, and the result is a more vivid album.

Well over a decade after the release of Eluvium's brilliant 2003 debut, Lambent Material, Cooper continues to sound inspired and inventive.

As it is, it's a bit of a confused mess that needs some serious editing.

Katy Goodman and Greta Morgan have made an album that's often beautiful and marvelously crafted with Take It, It's Yours, but past the surfaces, it's often hard to tell what it means and why they made it in the first place.

Motion Graphics is a highly intriguing album of warped bitstream pop.

This offers more of the detailed scenes only Ocean can script, as well as some stray sly quotables. Ultimately, it's a smartly ordered patchwork of mostly secondary material.

An undoubtedly reactive work, this is undiluted and progressive nonetheless.

On Stay Gold, Walker falls into the latter camp, but if these songs lack a certain spontaneity, the craft is strong and Walker seems so eager to sound like a rock star that you just might mistake him for the real thing.

It's a welcome return, as is Glory as a whole: it feels as fun and frivolous as her earliest music while retaining the freshness of her best mature work.