World Beyond amplifies how efficient Erasure's own arrangements are, while at the same time giving Bell more space to command the room, which he does, with nuanced performances.

The record is a little shaky, but it's to the band's benefit that they retain a desire to not be so serious. At those moments, the Vaccines deliver some rock & roll spark.

Tthe effect is utilitarian for lethargic revelers and humorous for teetotalers.

It's a breezier listen than its predecessor, but the Voidz's willingness to try anything--whether it works or not--still might be too much for all but their most die-hard fans.

Sometimes, Expectations can be generic, like on "Sleepover" and "He'll Never Love You," which could have been released by any of the aforementioned singers. However, despite this occasional dip into indistinguishable pop territory, Kiyoko's debut hints at untapped potential from a fresh voice with a relatable perspective.

Pearson's point has been made: he's upended the high expectations his 2011 album set, no longer seeming like a soul-baring troubadour. Whether that was worth a seven year wait, only fans can decide.

America succeeds in representing its namesake: it's confused, inspirational, and, like Thirty Seconds To Mars circa 2018, at a serious crossroads where the future is uncertain but oddly hopeful.

By grounding it so heavily in the metal that served Spinal Tap so well, Shearer turns Smalls Change into a bit of a grueling hourlong experience--there may be the occasional taste of prog pomp or a Richard Thompson cameo, but it's all in the context of hard rock--but listened to as a series of EPs, the craft behind its silliness shines through and it's quite palatable. Which makes it not all that different from a John Entwistle album.

Shaggy and Sting might not first appear to be an ideal match, but they're both rooted in reggae and are both international stars, so they share a vernacular that helps turn 44/876 into a surprisingly enjoyable pan-international pop album.

As odd Neil Young albums go, Paradox doesn't hold a candle to Americana or A Letter Home, but this could have been trimmed down to an EP and it would have worked better. Fans will want to give it a listen, but they might not pull it off the shelf again for a while.

Working with producer Shawn Everett (the War on Drugs, Alabama Shakes), Sheff has crafted his least-Okkervil River-sounding Okkervil River outing to date, employing a colorful palette of sonic hues that flirt with everything from soft rock and soul to left-field '80s synth pop and Beatlesque classic rock.

While Megaplex has its moments, the pleasures are fleeting and listeners aren't left with much meat to stick to their bones.

As was the case with Hills End, the sonic and architectural puppetry is meticulous and heartfelt, but the absence of any sort of innovation induces a sort of pleasant fatigue that grows decidedly less agreeable with repeated spins.

The album isn't an album of a moments, it's a collection that sustains a mood. A mood that's ragged and slack, but too dulled to charm.

Godfather II isn't bad, but coming after a career highlight, it's quite disappointing.

Tim Wheeler--who produced the record on his own--is as much a craftsman as a songwriter, hammering out melodies and riffs, and his resulting tunes aren't fashionable, but they are sturdy.

While the acoustic treatment is more effective on some tracks than others (certain Alex lyrics and melodies demand noise, including "Filthy Luck"), the naked distress of these versions often delivers its own power.

While in some ways Testing is more musical than anything we've heard from A$AP Rocky before, it's also more confused, with ideas and musical shifts colliding at times to the point of randomness.

Not everyone who digs Donovan's more rock-oriented projects will connect completely with How to Get Your Record Played in Shops, but if you want to experience his musical vision in primal form, this merits your time and attention.

Despite these two tracks ["Psy-Fi/Fantasy" and "Forever Jung"] and the presence of electronics, 1984 is memorable for its folky, Scout Finch-like recollections that mix the playful, unfortunate, and innocent.

Collectively, the songs play like movements of a single work, making for a consistent set of low-light, David Lynch-ian ambience.

On Nightstand, she almost splits the difference, softening her tone but not abandoning the crunchy effervescence of prior albums.

They haven't quite arrived on a focused, cohesive sound yet. They certainly have something to say about the state of London nightlife, however, and it's worth paying attention to their insightful observations.

While the album could benefit from some tightening-- the middle stretch stalls the momentum--Expectations affirms Rexha's songwriting prowess, ear for catchy hooks, and ability to pull emotion from otherwise serviceable radio pop.

That's a lot of songs about life and death, but The Blues Is Alive and Well has a lot of songs in general--a full 15, lasting well over an hour. This excessive length means there's a lot of room for levity, too.

While the songs on Basic Volume explore similar sounds and themes as his previous work, they're sharper and more focused.

A diverting if inconsequential EP filled with a lot of flippant humor and a little serious reflection.

Phantastic Ferniture shares a certain retro spirit and thoughtfulness with Jacklin's work as a singer/songwriter, even though others are involved in the writing here, and even when it's trying not to think too much.