On Forward Constant Motion, the duo make a leap forward and a little to the left, making for a rewarding, always interesting, and oddly emotionally satisfying album.

The band's return to basics here is effective with Calder at the helm, and results in an affecting record with consistent intensity and enough hooks to promote both catharsis and return visits.

harmony. Sundur's delicate poignancy is certainly darker than on prior albums ("Nothing ever stays the same"), but it's just as fascinating, and has the potential to be deeply affecting.

While his vintage approach may recall some of country music's golden eras, Bell rises above other young, retro-inspired acts on the strength of his memorable songwriting.

As a whole, Tolchin's rootsy acoustic mix works for him, though he shines brightest on the folkier, more heartfelt tracks.

If this is Brent's album, existing for comedic reasons purely to accompany the film, then it fulfills its purpose. However, taken at face value, it's nothing more than a mish-mash of classic rock tropes and controversial lyrics.

It's this lack of an overall aesthetic that makes Last Night on the Planet feel more like a compilation of singles than a full-fledged album; while the duo's skills are still evident, unfortunately the results aren't as rewarding as before.

It is a representative introduction to the work of a top-tier synth-pop group.

At times wistful and contemplative, frequently explosive, and pleasantly damaged, Worry. holds true to its creator's D.I.Y. aesthetic and pop-punk/ska roots while continuing to emphasize his new power pop direction.

Although it's not without some dazzling moments, this is the Zomby album with the lowest quantity of thrills.

Prima Donna is an essential snapshot of 2016 that bears witness to the evolution of an artist coming into his own with an unflinching, socially conscious perspective.

Swarming basslines and sluggish beats likewise form the rhythmic foundation, with gauzy and tickling keyboards adding sweetness to Scott's hedonistic hooks. Only on "Guidance," through scuttling drums granted by DF, is there a significant shake-up.

The mellifluous vocals and washes of texture wind up balancing each other a little bit too well: it's an alluring sound that seems attractive in the moment by disappears in the slipstream.

As good as Still Corners are at fitting their music into a mold, the tension they create between city and seaside, as well as their pop and experimental impulses, is unique, and Dead Blue is most rewarding when they explore it fully.

That ["Only U"] and a couple other exceptions aside, the hour-plus set offers more variations on the narcotic, boast-filled slow jams for which Brathwaite and his fellow OVO Sound artists are known.

Iit's the assemblage that delivers the difference, and that's enough. Given its relative brevity, it's among the few albums in their catalog that doesn't leave the listener exhausted (not a bad thing by any means), but wanting more.

From start to finish, Trick is arresting, with enough sonic surprises to excite and perplex listeners freed from the restrictions of genre boundaries.

The warmth of the beats and the tasteful melodic arrangements are perfectly suited to McMorrow's soulful, blue-eyed delivery, and the occasional stylistic detours and offbeat turns of phrase make for welcome deviations from the formula.

It's up to the label's high standard, a riveting composite of grief and filth like no other.

Hunter works within his limits, rocking just hard enough to seem vital and, best of all, his songs remain a thing of wonder: careful and clever, the work of a singer/songwriter who values idiosyncrasy over eccentricity.

Everybody Looking is one of the best examples of Gucci Mane's contributions to rap in his highly prolific catalog.

Wilder and stranger than Anika's previous work, Exploded View is an unpredictable ride that suggests listeners should follow wherever she beckons.

On No Hard Feelings, the South Side native adeptly mixes grit and gloss.

The contrast between Khaled's all-positive demeanor and his facilitation of buccaneering misogyny is stark as ever here, most evident in tracks like "Work It" and "Pick These Hoes Apart."

While comparisons and familiar tones abound, they shouldn't detract from what Troy and Edwards excel at delivering. They mostly serve as touchstones to lock Deap Vally into the ranks of similar artists as genuinely concerned with rocking listeners into sweet submission.

Even if it's not as full of surprises as the original album was, E-MO-TION [Side B] might be even more cohesive--and should delight fans of perfectly crafted pop just as much.

As he imbues his songs with more warmth than most synth pop and more distance than most singer/songwriters, Cameron charts his own territory on Jumping the Shark with striking and moving results.

Nothing here has the upbeat pop appeal of "2 On" or any of the unincluded post-Aquarius singles, but this is clearly designed for a different purpose.