Split between uptempo rockers like "Little Minx" and "Evil Blooms," powerful and hooky midtempo tracks like "Rimbaud Eyes," and streaked-eyeliner ballads like "Under These Hands," the record has a dynamic flow and balance of sounds and moods that previous albums haven't been able to accomplish.

He's aware he's building upon a past he sometimes pines for, yet he's restless enough to forage ahead into new territory, but only when he's surrounded by cozy, familiar settings.

They've found a capable formula that will appeal to many, but some more personality would go a long way to seal the deal.

River of Souls finds a way to economically say everything the artist needs to say, touching on myriad ideas and styles, wasting no words, and making it look so easy.

The quirky and antiquey title track is nothing but a cute lark and comes off as a bit trite in such purposeful surroundings. Think of it as a slight misstep or comedic interlude, but otherwise, this is engaging sweet techno with a smile, carefully crafted and yet seemingly carefree.

Divided & United is vital listening for anyone interested in the history of pop music or the United States, and it satisfies as both education and entertainment.

Completists looking for some new insights to Drake's sounds will come up empty-handed with this collection. Although the music at its best approaches flawlessness, almost all of it has been widely available long before this packaging.

While certain songs definitely stand on their own, the ability to capture a feeling throughout is what makes the album memorable and worthy of repeat listening.

Just as pretty but more purposeful than Jones' previous output, Tranquilizers makes good on the promise of Dog Bite's debut and then some.

When it works, it feels lived-in, loved, and just occasionally lurid enough to satisfy the fans who hold "Golden Streams" as the litmus test by which all Hidden Cameras songs must be judged, but tracks like the slight, early Depeche Mode-throwback "Carpe Jugular," and the seemingly endless, dub-kissed "Afterparty" feel like they were tossed in to make what would have been a solid EP into a filler-laden long-player.

At times, Paisley seems a little beholden to tradition--he prefers tastefully burnished settings to an un-sanded, spiky mess--but he still has enough panache to give this a bit of resonance and that's what makes this record, which feels as if everybody involved wishes it was recorded in a cabin in 1975, rather charming.

While much of Have Fun with God will be reserved for Smog and Callahan superfans, or those who loved Dream River so deeply they'd need to hear it in dub, casual listeners will find something to ponder in the mumbling percussion, deep basslines, and scattershot echo vocals of tunes like "Expanding Dub."

Even in its self-conscious worship of shoegaze it could easily become a late addition in that genre's canon. Shelter is expertly crafted, inspired, vulnerable, and honest.

This album continues the colorful and reaching work of the albums that preceded it, and if this pairing of Swift's deft production and Jurado's risk-taking songwriting continues, even greater things are on the horizon than these already gorgeous songs.

Expansive and enveloping at the same time, this set of songs puts Warpaint's past and future in perfect balance--one of the best things a band can do on their second album.

Rave Tapes takes a while to hit its stride, but it delivers plenty of moments to keep fans intrigued once it does.

It is to their considerable credit that Transgender Dysphoria Blues never sounds like the work of a band falling apart; if anything, they're reinvigorated, playing with a purpose lacking on 2010's softly unfocused White Crosses.

Calling EP2 "serviceable" might be a little harsh; instead, its best moments suggest that the Pixies are settling into writing songs that sound comfortable next to the classics and don't try too hard to reclaim the magic of the band's early years.

Describing just what Marijuana Deathsquads are up to on Oh My Sexy Lord isn't simple, but after taking a taste, don't be surprised if you ask for another dose before demanding to know the ingredients.

This remains some of their finest work to date, and whether you missed them back in the day or are updating your library, this set is a must.

This remains a stronger and more engaging document of Lone Justice's brief moment of greatness than has ever seen authorized release, and 30 years on, this still sounds like a band that could have taken on the world if they'd been allowed to follow their own path.

Somewhat unexpectedly, Hidden World makes an argument for Fucked Up as part of the thriving Canadian post-rock scene, which the band has previously willfully ignored.

Ultimately, much like riding a surfboard from wave to wave, Fading West moves from earnest ballads to dancey, groove-oriented cuts to breezy, sunshine-soaked rockers with an easy, athletic flow.

At times, this album is nearly exquisite, at all others, it is beautiful.

For all their technical skill, there's something terribly generic about this band, who don't seem to have a fresh or distinctive move in their entire repertoire as they bounce through their cookie-cutter tunes.

Approach this release as album number two and it comes off as a celebration based on past success, so use Up & Away as an intro, then join Ink and all the inspired party people he invited to My Own Lane.

No one doubts the power in Nettles' throaty contralto, but some of these songs feel too calculated or require more subtlety to completely pull off. That said, these simple shortcomings won't--nor should they--deter her fans.

These trips to the dark side add even more depth to an album that's a significant step forward for Blank Realm, and some of their most enjoyable music yet.