As they head further down this cerebral path, it would behoove Newcombe and his gang to work a bit harder on their core offerings before they paint on all the fun stuff.

In the end, Love Songs for Robots is well represented by its title: weird, heartfelt, haunting, stimulating, and unexpectedly sultry; it holds much for humans to appreciate, too.

Billy Joe Shaver is one of a kind, and this set proves it; it makes an excellent introduction for anyone not familiar with his singular talent.

This more open, organic process comes through on the songs, providing E and company with a refreshing amount of creative freedom after the relative confinement of doing a conceptual three-album trilogy.

Easy Tiger delivers what it promises: the most Ryan Adamsy Ryan Adams record since his first.

The album offers a fresh perspective on minimal techno, keeping things energetic and more than a little bit apprehensive.

One of Metheny's aesthetic signatures is an often euphoric character in his composing and playing. While that's absent here, emotion, vulnerability, and poignancy aren't.

Surely, it's a revival for Leon Russell, who has spent decades in the wilderness, but it's not a stretch to say The Union revitalizes Elton John just as much as it does his idol: he hasn't sounded this soulful in years.

The lush synths and bubbling beats carry the same wild dreaminess she achieved on songs where she was covering D.I.Y. rock songs in sheets of reverb, and it's more Rose's exacting and specific songwriting design than the instrumentation that makes Love as Projection feel so wonderfully strange, secret-keeping, and exciting.

Admittedly, these are also slower-burning compositions that lack the hooks and pop immediacy of much of Villagers' previous work. Ultimately, however, the pulling back feels intentional and fitting for an album of songs that always seem born out of O'Brien's most personal experiences.

Luluc's attention to detail and careful songcraft are apparent yet the music slides comfortably by, revealing its true depth with repeated listens.

There's less brooding menace and more giddy insanity -- without ever giving way to total chaos.

Putting the Days to Bed finds Roderick writing his most intimate lyrics to date while also building upon the radiant pop sensibility of 2005's Ultimatum EP.

Driven by a restless exploratory spirit, Gengras uncovers something new during nearly every moment of the album, which indeed consists of some of his most playful work.

The Afrobeats-tinged "Happy People" and "We All Win" spread joy to a communal level. A couple other songs, while inviting, are over-sugared, and certain production choices, mainly with regard to vocal effects, don't play to Nao's strengths. Hearing her so assured and exultant is no small consolation.

It's the consistency and quality of his work that continue to impress, and the timeless Local Valley slots easily into his catalog as if it's always been there.

By not taking the easy way out, Ready for Love is a successful experiment that nudges at John Hammond's limitations while satisfying his recently acquired, larger fan base.

It's a sassy section of sultry soul and urban vibratos, yet a snarling demeanor asking for a little respect also peeks through the dozen-song set list.

This is easily Sheik's strongest, and most mature record to date.

Universal Truths and Cycles shows the band has lost touch with the most important thing outside producers brought to their TVT albums -- someone to help pick, choose, and sequence Robert Pollard's over-abundance of songs.

Bjork has crafted an album that is both intimate and theatrical, innovative, but tied to tradition. Though Selmasongs paints a portrait of a woman losing her sight, it maintains Bjork's unique vision perfectly.

No matter the number of bright moments, you can't help but feel that Jadakiss has his best days ahead of him.

Outside of the Bacharach album, it's his best in a long time. But in order to know that, you will have to have dilligently listened to everything from Spike on -- and if you got off the bus around then, it's harder than ever to get back on.

It's beautiful, weird, and difficult to love.

Union and Return is as much a continuation as it is a fresh start; as much as Wyatt's old approach might be missed, he doesn't need it to make compelling music.

Rot is the kind of album only a band with a full grasp of rock & roll history could have made--no doubt they've worn out a copy or two of Radios Appear in their time--and it should appeal to anyone who likes their punk scrappy as can be with a bunch of wiry pop mixed in, too.

The album is one of Gucci's best post-prison efforts, matching Everybody Looking and Mr. Davis in style, catchy production, and big trap fun. Unlike its predecessors Evil Genius and Delusions of Grandeur, Woptober 2 is energized, addictive, and packed with quotable lines that find Gucci hungry, defiant as ever, and revitalized by his younger, up-and-coming guests.