This balance between seriousness and metal excess is a tough one to pull off, but AxeWound manage it nicely, reining in the songs with enough genuine aggression that they're not in danger of devolving into parody.

In its own subtle way the album delivers on the promise and intentions of Turning the Mind.

It's evident that Arie's in a good place, both creatively and personally, yet SongVersation is not about self-satisfaction. She has no trouble bringing her listeners along.

The problem is, shooting for the stars is really where the Airborne Toxic Event are at their best, so while songs like "Timeless" and "The Fifth Day" might feel like the band treading on old ground, it's when they have the time and space to really stretch out that they're able to get up to full speed.

With Rodeo, Travis Scott becomes a designer drug.

Named for characters from these films, the Soulsavers aimed to capture the emotion and atmosphere of each one. What results is, oddly enough, a lush work of gorgeous beauty for such dense and oftentimes disturbing movies.

One hears the core of a great band on I Hear You, but if Arbor Labor Union want to make a great record, they're going to have to find a way to make these songs go somewhere rather than letting them wander in a circle, though they at least sound like they're having a good time staying in place.

One Directioners will no doubt relish every moment of Flicker, but for casual fans potentially wary of the boy band stigma, they can rest assured knowing that Horan has taken a big first step into musical maturity, with his own voice and deep well of emotion.

The future will not be too kind if subsequent efforts continue to climb the stairway to heaven, but there are worse ways to get your Led out. Ramble on, gents.

The most surprising thing about SHE IS COMING is how detached she sounds on it.

Although Robertson's delivery often veers toward the hammy -- he relishes the B-movie gangsters on "Shanghai Blues" and hisses out “hardwired for sex” as if was a snake lying in the grass -- there are pleasures to be had in this upscale affair.

In attempting to strike a balance between the raw, emo-punk approach of their debut with the more streamlined indie rock of Natural, Everyday Degradation, they've revealed that their biggest problem isn't settling on an identifiable sound, it's their inability to write a truly memorable song.

It certainly doesn't rock as hard as an OSees album, but the mind-blowing nature of Dwyer's work remains intact and there's absolutely no reason anyone already under the band's spell shouldn't find Panther Rotate to be another vital and inspiring piece of the Oh Sees/OSees puzzle.

Younge's spoken parts function as interludes, side commentaries, and supplemental statements related to a balanced mix of vocal numbers and instrumentals. The cuts with minimal or no vocals are poignant even without considering titles like "Dying on the Run" and "A Symphony for Sahara." Those that more prominently feature singers Loren Oden, Sam Harmonix, and Chester Gregory are filled with riveting moments.

Stitched together with old, seemingly unfinished material dusted off and sometimes freshened up in some fashion, varying wildly in subject matter, and therefore doesn't come across as a true follow-up to 2021's Punk.

There’s plenty of dazzling wordplay related to coke dealing and showing off, but the album carries a more redemptive tone and a higher level of self-awareness.

There are no hooks, nothing to suck in the many adults that liked Clarkson's first two records.

Last Light is an altogether different album from what we've heard before, as Matt Pond has rarely put himself in such close contact with his idols. Nevertheless, it's a leap forward for an artist who rarely, if ever, heads in the wrong direction.

The album doesn't quite knit together seamlessly, but that doesn't mean there isn't plenty of interesting stuff here. If anything, Where The Messengers Are is an easily measurable improvement over their debut.

AmeriKKKant is just a depressing slog through and through, perfectly summed up by its Statue of Liberty faceplant cover art.

Blue Film is an often unforgettable introduction.

Here, Mayer is effortlessly seductive and somewhat irresistible, and it’s easy to see why the ladies love cool John.

It remains as easy on the ears as a worn pair of slippers on the feet.

This introduction isn't all that different than her debut, since it still presents a promising vocalist instead of a vocalist who's fulfilled her promise.

Anyone looking for some no-frills, straight from the heart indie rock that has no time for preciousness or TV commercial-ready softness, could do much worse than Sebastien Grainger and this jaw-droppingly good album.

Ye can feel uneven, sometimes boring, and more indulgent than usual, but it's a fascinating peek into West's psyche.

No, Endless Wire is not perfect -- its parts don't quite fit together, and not all of the parts work on their own -- but it is an endearingly human, impassioned work that more than justifies Townshend's and Daltrey's decision to continue working as the Who.

While Simulation Theory might appear to be overly polished mainstream trickery--all part of the simulation!--it's purely Muse at heart, successfully merging electronic-pop songcraft with their typically urgent, stadium rock foundation.