Those attracted to the collaboration's premise will very likely appreciate its results.

These performances mark the apotheosis of a creative journey that began at Newport two decades earlier.

Their album is all thriller, zero filler.

Magnifique doesn't show a ton of artistic growth or progression; it's more of a rebranding that tightly focuses on their strengths and passes them to the consumer like a sharp, swift punch to the brain and feet.

In the end, the street-worthy effort seems more influenced by Maybach Music than Minaj, as it forsakes the paparazzi and gossip pages for the better and continues on the path first laid out on the man's mixtapes.

While Currents would have made a decent Kevin Parker solo album, people coming to the album and expecting to hear the Tame Impala they are used to will most likely end up quite disappointed.

While a few tracks sound too similar to each other, How Does It Feel's best moments deliver pop accessibility without sacrificing any of MS MR's identity.

Instrumentals 2015 feels like a successful reinvention after such a lengthy absence, but at the same time, it could've been beamed in at any point during FSA's existence, as its elemental, bare-basics construction isn't beholden to any trends, and therefore it feels timeless.

Her earnestness is nearly as appealing as her prettiness, a quality apparent in both her voice and her surroundings.

Gold and Stone is another intriguing entry in the discography of Eternal Summers, a band who is quickly building up an impressive body of work.

Sonically, Explains is breezy, effortless, and warm as a Pacific Ocean sunset, and its laid-back vibe helps tame some of Field's more manic, pop culture-laden diatribes like "Light Brang" and "Where."

Starfire certainly isn't as game-changing as LPs like Agharta and Pangaea, the mood and spirit is that of Miles in the '70s, but with the mechanically precise rhythms one would expect from a group born in the era of acid jazz.

Olympic Mess is a gripping sound odyssey which bewilders and occasionally perturbs.

Yuck may be bereft of any edges, but it's devilishly clever sophisti-pop disguised as big- box shopping center background music.

The lyrical content, along with the album's constant energy, make this Everything Everything's most focused effort thus far, one that bundles brawny indie rock with 2010s Zeitgeist.

An extension of their ever-evolving canon, The Sovereign Self is possibly Trembling Bells' most colorful journey yet, with a wayfaring rock & roll spirit and a madcap zeal that keep it sounding fresh.

It's the sound of someone coming out the other side of personal upheaval, and even if there are a few missteps, Williams connects in a very human way, providing plenty of allure for an album that feels very much like a debut.

While the lyrics still bristle with discontent, they're less defiant and more concerned with the journey than they are the inevitable descent/ascent to oblivion.

That the band never lose themselves in the process of these myriad digressions is impressive to say the least, but what's most notable about Found in Far Away Places is how fluid the ride is.

All of Container's recordings are amazing, but this one is his most concentrated burst of energy yet, and it cements his status as one of the most exciting and inventive artists in the underground American electronic music scene, as well as one of the most successful in merging noise with techno.

Call Me Insane shows the honky tonk man can still write 'em and sing 'em as well as you could hope, and he's not slowing down a quarter-century into his career.

This possible soundtrack takes a more abstract route while offering the same love and reverence, and it's also an almost-solo album from Lauryn Hill, the driving force behind six of the album's 16 tracks.

Engaging songwriting, with lyrics mostly of the love variety here, also anchor her solidly in worthwhile territory--Work It Out is far from a sellout-type effort.

Ultimately, Years & Years are so passionately in touch with their influences, they've transformed them into something new and full of the light.

Ghost Notes is their most consistent--and consistently enjoyable--album yet.

Ultimately, Working Girl plays like Little Boots' own biopic, a cinematic feminist synth-pop manifesto set to a pulsing Giorgio Moroder-esque soundtrack.

This isn't among the most substantive Four Tet albums, but it does reward repeated casual listening.

Low on drama but high on seemingly effortless jangle pop brilliance, Calling Out feels like a long-lost classic and an exciting discovery.