Ultimately, the Warlocks only do one thing, but they've learned to do it quite well (or rather Hecksher does it quite well and knows where to get the assistance he needs), and 2013's Skull Worship confirms his obsessions have not changed one bit with time.

No End will not appeal to everyone--especially not all Jarrett fans. But those who've closely observed his processes and evolution will likely embrace it, as will fans of experimental guitar-based rock.

The web of sounds here creates the same relaxing and breathable environments as Eno's most meditative work, just a far more lo-fi rendering of it.

Not surprisingly, Luque, a verbose and enigmatic lyricist, is the perfect match for Bejar (they're also both hirsute rock & roll outliers), and the five-track collection requires little in the way of translation.

Fellow Travelers makes the listener feel like they snuck in the back door of the club and are bearing witness to one of the coolest soundchecks ever, and while it may not be the follow-up that fans were envisioning, it certainly deserves a slot in every Shearwater enthusiast's collection.

They're a good match. Jones' suppleness sands down Armstrong's ragged voice, he gives her grit while she lends him grace and these qualities are evident throughout this lovely little gem of an album.

When the album ends and the various styles, songs, and moods are added up, Midnight Memories ends up as another satisfying album that does everything a One D album should do and then some.

Birdy's second release is a testament to her confidence in her own songwriting talent, and of course, to the fragility and intensity of her pure, unblemished vocals.

It's a serviceable bit of self-generated fan fiction that's as slight as it is artistically obstinate.

With 17 incredibly complex songs clocking in at almost an hour, the San Fermin listening experience is a commitment, but one that rewards greatly.

With its more considered, balanced approach, Surrender to the Fantasy feels more like a complete album than Balf Quarry's collection of moments did. It may take a few more listens to surrender to its fever dreams, but it's well worth the effort.

This is the kind of album that appeals primarily to hardcore fans looking for a new spin on the familiar; in other words, this is unlikely to convert EDM listeners to the pleasures of Linkin Park.

Last Patrol ties things up nicely with the one-two punch of "Strobe Light Beatdown" and "One Dead Moon," the former a blistering garage rock rager and the latter a midnight power ballad that shakes its fist at the inky blue and then disappears into its gaping maw.

No matter the mood and subtle variation in sound, Fulvimar is in full control at all times, and while some may miss the garage punk style of the first album, Shine Your Light is an impressive change-up that will thrill those who stick around.

Here he successfully creates a convergence of harmonious and dissonant sounds, tensions and spaces, which reflect the subtleties in the complex emotions that construct such a powerful force.

Even if every track here isn't quite as inspired as this song, or the music from the first movie, The Hunger Games: Catching Fire is a solidly entertaining soundtrack.

Daughtry has never allowed Daughtry to be silly before this record. This relative lightness makes a big difference--it also helps that the music itself is relatively nimble--and, ultimately, this turns Baptized into the best album he or his band has made.

As far as the argument over whether Death Grips are indie rap's great, destructive Dada Art crew or whether they are just the genre's Spinal Tap, the excellent No Love Deep Web suggests they're the sophisticated former.

Those who enjoyed the wooziness of Talabot's 2012 studio album ƒIN should find much to enjoy here.

Recommended for those interested in classical-rock fusions.

He's an artist with ideas and while they sometimes pile up and crash on Cupid Deluxe, it's always a spectacular crash, and that's something worth investigating.

Rubin skillfully retains a veneer of authenticity throughout Shangri La, adhering to the Dylan in Greenwich Village vibe of the 2012 debut and never letting the electric expansion feel like exploitation, but all this care is applied to songs that are deliberately slight.

Boot! not only refines what the Thing do, it extends them into a breathtaking sphere where a Babel-like musical conversation takes place, elevating all of its singular elements into a rough, raucous, glorious whole.

Every part of Purgatory/Paradise has meaning for the band and its listeners, making it a satisfying artifact in a time when music is becoming increasingly disposable. May they ever go against the grain.

A nifty encapsulation of the group's style and attributes--the Killers cannily use the singles-centric conceit to showcase the band at their overblown best, emphasizing their arena-sized neo-new wave just slightly over their Springsteenisms

The album has a nice, gentle sway and Pickler has expertly modulated her diva moves so she's now a skillful country singer.

Given how mercurial she's been, this stylistic return may be temporary, but it's so fully realized, it's also a most welcome one.

Sweet & Hoffs identify why each of these tunes remains beloved, by audiences large or small, and the faithful, heartfelt nostalgia combined with the pair's participation in the scene makes Under the Covers, Vol. 3 the best trip down memory lane the duo has yet made.