Pitbull's Global Warming is the spicy pop-rap place to forget the world's problems, so forgive the fat, forgive the mess, and enjoy the heat.

Into the Future fares better than the stale output of most reunited punk acts and also rises above a weak rehash for the sake of nostalgia. Always true to their original vision, Bad Brains continue sailing on.

Where earlier albums seemed to be meticulously crafted soundtracks to strange dream worlds, Aimlessness lacks the cohesion or attention to detail of those productions, opting instead for a soup of loosely pieced ideas, many of which feel moved on from more than worked over.

While it may occasionally get bogged down by its near constant need to reach the nosebleed seats, the desperation that the band emits ultimately feels inclusive rather than brazen.

After a pair of bombastic anthems--including the oddly written "Girl on Fire," which has her "living in a world, and it's on fire," then "on top of the world" with "both feet on the ground" and "our head in the clouds"--the album loses its grip.

Good news is, the too-pop Roman Reloaded now feels more balanced once this eight-track EP worth of material tips the scales.

With A Wrenched Virile Lore, they offer a set of reworkings that are more cohesive than their previous collection, while still taking the songs from Hardcore Will Never Die, But You Will in notably different directions from their origins and from each other.

Given that Ferry doesn't sing on The Jazz Age, the appeal for casual fans is debatable. But for the faithful, trad-jazz heads, and open-minded listeners, the musical quality--from expert arrangements, virtuosic playing, and the brilliant concept--offer something wholly different and rewarding.

The Remixes is as well balanced as it is eclectic, finding room for tracks that clearly bear the stamp of their remixers.

It is pure artistic id, and after hearing it, it's possible to view Rossiter's entire body of work in a new light, gaining an appreciation for his grace, wit, and artistry.

The nostalgia and artistry will take you back and warm your Coogi-covered heart.

This is a promising prelude to Solange's third proper album.

There's also plenty of dubstep and neo-soul (note the very fine vocal cameo from Greg Blackman on "I'm Feeling U"), and unfortunately, there are also some de rigueur sketches and waste-of-time spoken word interludes, but not too many of them.

The 2012 debut is a pretty accurate throwback to the sound of golden age East Coast rap, complete with soul samples and boom-bap beats.

While a good background album it may be, it's not exactly gripping. The songs are too multifaceted to feel cohesive, yet they never seem strikingly experimental.

Carry On might be the most personal Willy Mason record to date and finds him unafraid to use traditional blues motifs--narrow roads, one-way streets, and fugitives--to fully express himself as a songwriter.

This time around Murs delves into even more of a funk sound, and tracks like "Troublemaker" and "Hey You Beautiful" bring to mind the sound of such similarly inclined contemporaries as Maroon 5 and the Wanted.

Diehards who have all of Biophilia's singles may not need this, but it's still a fine collection in its own right.

Those who have been waiting for what seems like an eternity for Timberlake to return to the music scene could do worse than check out Contrast, which although rather front-loaded, is perhaps the most confident and mature teen pop debut of recent years.

It's hookier and not as ponderous as ¡Uno! but not quite as breakneck as ¡Dos!.

Bison B.C.'s creations for Lovelessness largely succeed on the strength of those imaginative arrangements and by proving themselves improbably infectious despite their brute façade.

They seem have found a sense of clarity amid the chaos at certain points.

Horror and dark electronics fanatics alike will put this one on repeat for days, but its very powerful specificity will likely cut out a swath of listeners not interested in either ravenously dedicated sub-genre.

COF achieve a victory here. It rocks.

Based on the soul-satisfying evidence of Feeling Mortal, one can only hope there are many more.

Ultimately, though, it is just this diverse stylistic quality, both in the source material and Elling's arrangements, that make The Brill Building Project one of his most interesting albums.

They actually make the effort to show why they're worth paying attention to across six often lengthy tracks. At points their approach is more like providing catnip to well-inclined fans.

Discount the general masses not attuned to UFOmammut's unique but long-established formula, and their dedicated followers shan't have to expend too many of their remaining neurons grasping the full enormity of the band's accomplishment, even though this second sibling falls just short of its elder twin overall.