This masterful release contains some of the most immediately appealing work in Eno's discography.

Underwater Cinematographer isn't your quintessential debut album. It's too complex, too inquisitive, and too ambitious.

It's intriguing that Live in Liverpool is the Gossip's first release for Columbia's Red Ink imprint--it's not exactly an ideal introduction to the Gossip's fiery music, but it is a great testament to why fans are so devoted to the band.

Concise and brisk, Trip At Knight is one of the more focused Trippie Redd albums, and calls for repeat listening where some of the others were difficult to get all the way through.

While tracks like the hard-hitting "How You King?" and "Fraud" do a decent job at showcasing his New York City-honed flow, unfortunately, for Montana's cause, the real draws on the album still include a famous friend or two.

Believe has enough strong material to keep most of the followers satisfied for another year, while elders should feel relieved that nothing is as sickly sweet as "Baby."

The directness and consistency of the album's production, vocals, and stylistic approach leave a great deal of the focus on the songs themselves, which is good, because songs are arguably Hands greatest asset.

It's surprisingly mellow and restrained.

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.

It’s the most accessible and fun of the triad of albums and represents Drake at his most interesting and least lazy.

It's as gorgeous a collection as "Bare," and pop music should be so lucky as to have more of this kind of thing out in the world.

Snider seems to know he'll never top Walker's original recordings, but he sure likes sharing these tunes that he clearly loves and understands, and enough of that soul and belief is caught on tape to make this as purely enjoyable as anything Snider has released in the past decade.

An intimate and emotive affair which manages to pursue a slightly mellower direction while still retaining their trademark oddball sensibilities.

RoadKillOvercoat will certainly win him some fans who have previously avoided hip-hop, but for those same reasons, it might also cost him some, too.

The Century of Self is compelling proof that the only way a band as fiercely ambitious, righteous, and single-minded as ...And You Will Know Us by the Trail of Dead can do things is on their own.

Like their Chicago contemporaries the Handsome Family, Cotton Jones feels a kinship to the country-folk tradition, but is not bound to it, and with each new collection of songs, they add another couple of lines to the genre's weathered face.

Spirits has the advantage of sounding like an enjoyable guitar-based drone-and-zone effort in its own right regardless of everything else Mahood has already done, not least of which is due to a certain bright tone throughout the album.

Sweet & Hoffs identify why each of these tunes remains beloved, by audiences large or small, and the faithful, heartfelt nostalgia combined with the pair's participation in the scene makes Under the Covers, Vol. 3 the best trip down memory lane the duo has yet made.

A leaner, at times heavier album than its predecessor, Rehumanizer still satisfies as it proves that Maserati's music is built for endurance as well as speed.

As a vocalist, 6LACK still often sounds enervated (if always lucid) in a way that rewards only close listening from those who value crooners over belters.

Cuomo doesn't suppress his emotion; he just prefers sentiment, but what he loves most of all is a pure pop song and Hurley offers up its fair share.

The melodies are far more varied than on previous outings, and the sense of dynamics and balance of tension in these songs -- and the arrangements that accompany them -- are the most sophisticated this group has ever pulled off.

The Family Jewels is a record that is creatively ubiquitous and aggressive, traits that make this album not unlike Amy Winehouse's Back to Black or maybe even Liz Phair's Exile in Guyville.

Drastic Fantastic a rare beast: a pop album with a songwriter's heart, and one that works on both levels.

"Playin' Hard" and "Fumble," introspective and self-critical, are two of the album's most resonant songs and provide more depth, even though the sentiments are probably fleeting.

The Laughing Apple can in some ways be viewed as a compromise, as Yusuf makes an album that will resonate with old Cat Stevens fans, but there's never a moment where he seems less than sincere and committed, and this merging of past and present makes for Yusuf's most satisfying album since his return to popular music in 2006.

Perhaps the album doesn't sound like country music, but Corgan has assembled the album with country ideals, keeping the music and emotions direct but also relaxed, and that rigorous stylistic aesthetic makes Cotillions one of his better solo albums.

Frost Children take less risks with style and production on SISTER, but they turn in a well-oiled and high-potency set of songs that are more accessible than outlandish, designed for both dancefloor nostalgia and memories yet to be made.