[Domo Genesis] still talks about weed and weirdness, and sometimes with a star-studded guest list, as the killer "Go (Gas)" features Wiz Khalifa, Juicy J, and Tyler, The Creator. Mac Miller figures into the great "Coming Back", but the bits about Domo's family, his autistic brother, and his own search for self make this a meatier album than expected.

Dark, dislodged, and blown out while still being approachable, Better Strangers is a very impressive album.

Taken together, Craft delivers a fun and loose breakup album replete with colorful characters, memorable tunes, and an even more memorable vocal delivery--a noteworthy debut.

With 12 songs that include the band's usual absence of lazy filler, Delusions of Grand Fur is a sturdy and worthwhile outing that's likely to please and impress fans.

The Ship is a memorial to and meditation on history and human foibles. Just as importantly, it places an exclamation point on Eno's career as curiosity, experimentation, chance, and form gel; his relentless sense of adventure remains undiminished by time.

The cathartic and wounded moments here resonate in a manner matched by few, if any, of Beyoncé's contemporaries. She sometimes eclipses herself in terms of raw emotion, as on the throttling Jack White encounter "Don't Hurt Yourself." At the low-volume end, there's more power in the few seconds she chokes back tears while singing "Come back"--timed with the backing vocal in Isaac Hayes' version of "Walk on By"--than there is in most contemporary ballads.

I Long to See You is well worth investigating even if, at times, it is overly tentative.

The album is a hypnotic, slightly silly expression of physical as well as spiritual desires.

Ty Segall's influence may permeate Feels, but these musicians have enough ideas of their own to give this a compelling sound and personality of their own.

Apart from the relatively lively pulse of the aching "Another One," everything plays out at slow-jam tempo, and the vocals often slip into falsetto mode with lapses in enunciation. The duo is at their most effective on finale "The Line," a bare, subtly churchified pleader.

Overall, there's nothing very slick to be heard. Like they did on the excellent Feast of Love, Pity Sex do a great job of balancing noise with melody, using both in equal amounts throughout the record and always making good use of shoegaze's standard loud-quiet dynamics.

The album sounds as billowing and ethereal as one would expect from a solo harpist, but Lattimore's sense of experimentation gives her a distinctive sound, and At the Dam is simply a magnificent album.

The album sounds like it was spontaneously recorded and bashed out on cheap instruments onto a malfunctioning tape deck, and there are several tracks that cut off or feel like the tape has been smudged. Even as the music barely holds together, it still sounds like something Moothart obsessed over and poured all his conflicting emotions into.

Congleton's unhinged vocals add to the visceral nature of the outing, and some fatigue sets in toward the back half, but at just under 40 minutes, Until the Horror Goes is certainly digestible. However, listeners should definitely wait an hour before going swimming.

As far as sophomore efforts go, Greys have stepped up their game considerably.

A lovely, stimulating debut album, Contrepoint is a beautifully written love letter to musical history and creativity.

Higher Authorities doesn't seem to have any ambitions beyond being an informal extracurricular venture, but it sounds decent and trippy enough.

Odd as it seems, the majority of the track titles resemble those of an R&B release. That's far from the only feature in support of the notion that Too Many Voices is Stott's brightest and most open-hearted work.

With this solid album, he ain't the A$AP Mob's second banana anymore, either. Cutting-edge production from Clams Casino, Lex Luger, Cashmere Cat, and DJ Mustard help him get the job done.

Even if Nocturnal Koreans' sound isn't always textbook Wire, its imagery and wit most certainly are, making the album much more than the collection of leftovers its origins might have suggested.

As a celebration of GbV's core virtues, Please Be Honest really does honor the sound of the band as much as the skills of its frontman and founder.

All their records to this point have been really strong; Malamore is where they make a grab for brilliance.

Take All My Loves: 9 Shakespeare Sonnets reaffirms that the songwriter/composer is an arranger at home in many styles, with the ability to make this kind of sprawling, genre-surfing project unfold with elegance.

Ambitious and masterful, Atomic is another peak in Mogwai's career.

The Peace & Truce of Future of the Left is one of their most roaring dissents against the increasingly frustrating state of the world in the 2010s. Of course, this band is angry even when it isn't fashionable, but even so, this is some of their most cathartic music in a while.

Oh My Goodness is informal and intimate, but with enough grit and groove to make it a joy. Given its quality, one hopes that Fritts will record again, and soon.

English Heart is a great concept, and for the most part the execution works, but one can't help but wish it had been recorded in the '70s or '80s, when Ronnie's voice was strong enough to make the most of the material.

A thoroughly delightful album, it's hard to imagine fans of Jóhannsson and Dunckel's other projects not falling hard for Starwalker's charming galactic pop.