Musically, Hatebreed sticks with the blueprints that they used to build previous outings like Satisfaction is the Death of Desire and Rise of Brutality, but there's an impressive sense of workmanship to Divinity of Purpose that suggests a steady diet of more traditional metal.

For fans, the first disc has plenty of exciting material to offer: it sounds great, the writing is excellent, there are new musical directions, and, as expected, there is terrific playing throughout.

All of which helps to make That's It! a vibrant, engaging work and one of Preservation Hall's best albums.

Even if it's not quite as striking an achievement as WIXIW, it's a lot of fun and shows, once again, that Liars are unquestionably themselves no matter how much they push their boundaries.

There are times when tracks drag slightly, but it's safe to make an assumption that soon there will be a change in style, rhythm, BPM, or dimension, resulting in a complex and magical record with many twists and turns.

While Maritime is its own entity, cuts like driving of "Light You Up" and the sanguine "Drinking Peru" retain a youthful punk energy, albeit one filtered through the prism of a decade's worth of musicianship and hard-won maturity.

While Adventure isn't as raw and uninhibited as some of their past work, it continues the enduring legacy of their peppy garage sound with effortless confidence and nostalgic winks to the past.

ChesnuTT did become a father and famously took several years away from performing to focus on his family. It's that kind of rooted sense of purpose and dedication to the process, whether raising a child or recording a pop album, that permeates and elevates all of My Love Divine Degree.

The best songs on Back Roads and Abandoned Motels are a lovely reminder of what the Jayhawks have been doing so well for over 30 years, and if this album might make one wonder if Gary Louris is running low on songwriting ideas, he still leads a band to be reckoned with.

Figuring out the why of Returns to Valley of Rain is probably fruitless, but if Gelb wants to move forward into the past with Giant Sand, at least he's doing so with style and swagger.

This return to the Amory Wars concept is welcome. Even the few seemingly out of place moments are deliberate diversions to reward longtime fans. That said, in an era of renewed appreciation for prog metal in general, this offering should draw legions of new listeners.

With Empire Central, Snarky Puppy transform the Dallas music and culture that inspired them into a tangible listening experience.

Fans who have developed a taste for the sweet sadness of the Cowboy Junkies' best work may find Such Ferocious Beauty a bit strong and confrontational for their taste, but that's very much the point of this music; this isn't rooted in solace, but in exorcising the demons that come from losing loved ones, and it's a difficult but eloquent act of public mourning.

The shared lightness of touch among the producers suits Walker's uncommonly exquisite and authoritative voice. While she's still going through it, her artistic power remains undiminished.

Lovingly detailed, atmospheric, and oozing the Technicolor glow of a smoke-stained '70s movie screen, Rome is awfully hard not to cheer for, even when it's stuck on autopilot, as rarely do pet projects feel this alive and sumptuous.

Ultimately, with Froot, Diamandis has crafted an arch, swaggeringly impressive album that balances its pop sweetness with a deep-rooted maturity.

It wants terribly to be an important record, but its songs are merely good.

In the end, A$AP Rocky comes off as rap's Jim Morrison, offering an accessible, attractive, and brutish journey into darkness while remaining true to his spirit.

The concept is brilliant and musically the Black Heart Procession have never sounded better.

In the end though, Ladd's too good at producing a realistic commercial rap record; Beauty Party falls prey to the same faults, and the occasionally bland material never rises above its satirical value.

Decadent, theatrical, and magnetic, Alter falters only when the band's ambitions get the better of them, but the album's slight unevenness doesn't prevent it from being tremendously exciting.

It's sporadically entertaining and intermittently interesting.

He's successful even when he is indulging in a little silliness.

The Cure have become journeymen, for better and worse, turning out well-crafted music that's easy to enjoy yet not all that compelling either.

The power of Jane's Addiction is undiminished by Strays (this is still a band creating music unlike any other artist), but the imagination, bravado, and songwriting smarts apparent from previous classics is sadly missing.

The album gains a newfound polish, particularly in the production, but also loses some of the spontaneous energy and wide-ranging influences that characterize the rest of Stereo Total's work.

Like the best in commercial dance, Audio Bullys are excellent, distinctive producers, though their songwriting isn't in the same category.

If you're looking for a wild blues party, Voice of Treason isn't quite it, but if you want to hear musicians who can respect their influences while kicking it out, then the Soledad Brothers are right down your alley.