It all adds up to a very good record -- one that is interesting, and one that satisfies musically.

In all, it represents a beautiful set of ambience from one of the form's masters.

That Shelton can pull off this big, swinging bravado isn't much of a surprise--when his voice trills electronically on "Small Town Big Time" he makes it sound like a joke--but there's just a little bit too much of the schtick; individually the cuts work fine but they overwhelm not only the gentler moments ("Sure Be Cool If You Did," "Do You Remember") but cancel each other out over the long run.

With Big TV, White Lies combine the urgent passions of their debut with the conceptual ambitions of their sophomore effort and by doing so, make the best album of their career.

Lost Highway recalls nothing so much as a latter-day Bon Jovi record in how it balances fist-pumping arena anthems with heavy doses of sentiment.

They're a singles band at heart, though, and they wear out their welcome all too quickly on We Started Nothing.

The songs don't stand out as much themselves as they do blur into a wintery whole, creating an environment of subtle experimentation and daydream-like dynamics.

Rockpango is the most satisfying recording that Los Lonely Boys have come up with yet. It confirms the notion that the Garza brothers know exactly what they want and how to get it, with a sound that is inviting, infectious, and inventive.

Although it isn't their strongest work, Distortland is an enjoyable late-era addition to their catalog that breathes as much as it pleases.

Sleep Token's music, at the core, is absolutely gorgeous escapism executed by a highly-proficient, imaginative outfit. They've leveled-up to the mainstream majors on Even in Arcadia, a heart-rending beauty that is wholly unexpected.

The EP should be approached like a sequel -- with low expectations. Had this arid content preceded Syro, a fair portion of James' fan base would have likely written him off.

All Around Us stands as a puckish, blustery, peculiar creation recommended for a good pair of headphones.

Mumford & Sons proceed with intention, making this into a listen that's not only more compelling than their 2015 full-length, but one that suggests ways they could grow.

Even though the formula is a winning one (and sounds pretty thrilling in small doses), by the end of the album you feel like you were listening to one really long song.

While the album has its share of pretty melodies and even some gently beautiful moments, it's mostly a string of unremarkable songs built on platitudes, searching for reason and resolution but ultimately coming up empty-handed.

Patched together and seemingly out-of-character as it is, the singer's fourth album does have more going for it than her third one did.

Growth since his previous effort is obvious, both for the good (writing skills) and an arguable definition of bad (Penthouse Forum might even balk at some of the aggressive sex talk here).

With softer edges, a fuller sound, and some clever detours that don't take them too far away from the Jaill sound, it's a good showing that proves they are too consistent to fall into a sophomore slump.

The result is an album not only more interesting, but far more enjoyable.

Sure, it could've been worse, but it also could've been slightly different.

She sounds lonely and afraid in songs like "Jealous" and "Dancing Lessons," yet her fierce confidence overpowers such insecurity on the pinch-hitting "No Man's Woman."

It might not be as hip as it thinks it is, nor is it as catchy as it should be, but it's smooth and listenable.

Sound the Alarm is ultimately just another good Saves the Day record.

He can focus on the serious, the sentimental, or the fun side of life when he needs to, but he does it all without seeming like he's forcing out a persona.

Looking for a testosterone-heavy rock album that is 100 percent ballad-free? Airbourne have created quite an offering — in the form of No Guts. No Glory.

This one is for those who would still love The State vs. Radric Davis even if the breakthrough hits "Lemonade" and "Wasted" weren't included.

In Animal Tongue is not an easy listen, but it wasn't meant to be. Rather it investigates, explores, and experiments to open-ended conclusions, and to that end, it succeeds magnificently.

Despite a scattering of fantastic material, overall this collection is unworthy of the Sparrow's mighty legacy.