It is not a comeback record but a late continuation, a great work of art.

Cut the World is easily the most revealing Antony and the Johnsons album to date, joining material from various recordings in one extended, sublime document.

Plenty of hot air pushes it forward, while cold steel keeps it on the ground, just like the kinetic, magnetic Paz.

ong for song, Merry Christmas, Baby is very much of a piece with Rod's ongoing Great American Songbook series, with Stewart not straying from the familiar form of these songs and producer David Foster laying on all manner of soft, soothing sounds.

While the roots of the songs remain familiar, the Polyphonic Spree inject enough psychedelic charm and whimsy into the album that, if you don't think about it too much, just might have you forgetting you're listening to seasonal jingles, and that beats the hell out of "Jingle Bell Rock" any old day of the year.

Discount the general masses not attuned to UFOmammut's unique but long-established formula, and their dedicated followers shan't have to expend too many of their remaining neurons grasping the full enormity of the band's accomplishment, even though this second sibling falls just short of its elder twin overall.

They actually make the effort to show why they're worth paying attention to across six often lengthy tracks. At points their approach is more like providing catnip to well-inclined fans.

The passing of time has only increased Blur's stature as a British treasure and this is a concert that suits their status: it's crowd-pleasing without pandering.

Ultimately, on Dark Black, Train is a master at keeping us on the edge of our seats.

It integrates them in a 21st century musical language that is holistic and accessible while remaining fully exploratory.

There's something gelling on Dirty Glow that almost matches the album title itself, but it's just not quite there yet.

This feature-filled, somewhat messy effort is a welcome surprise, focusing in on its topic and then freeing it with the greatest of ease and making the previously maverick Game sound like a natural born ringleader.

The band gives the songs greater depth rather than always putting the message right there on the surface, and this change allows the listener to dive into the songs to really absorb and understand them.

Ultimately, though, it is just this diverse stylistic quality, both in the source material and Elling's arrangements, that make The Brill Building Project one of his most interesting albums.

COF achieve a victory here. It rocks.

The Life & Times Of... is a solid and recommended release.

Carry On might be the most personal Willy Mason record to date and finds him unafraid to use traditional blues motifs--narrow roads, one-way streets, and fugitives--to fully express himself as a songwriter.

It's hookier and not as ponderous as ¡Uno! but not quite as breakneck as ¡Dos!.

Too bad it's a step back from Doo-Wops in so many ways, leaving people who saw promise in his debut shaking their heads in disappointment and hoping Mars can sort out his feelings about women and get back to being a sweet romancer, instead of an icky hater.

Big Boi adapts to the unfamiliar surroundings with little effort and often sounds comfortable, but the fusions are short on power.

By and large Construction Sounds is a restful and refreshing listen--and one that reflects how far his music has come during the years since he last used the Schneider TM moniker.

Horror and dark electronics fanatics alike will put this one on repeat for days, but its very powerful specificity will likely cut out a swath of listeners not interested in either ravenously dedicated sub-genre.

An occasionally thrilling, yet ultimately uneven set from a talented band in the midst of a huge transition.

While they need to focus more, there's enough potential here to ensure that there's plenty to choose from.

Price's material-starved fans are craving his words more than beats, so don't call it a comeback but a wicked, wordy return.

Quarter Turns Over a Living Line is the group's fine and uneasy full-length debut.

Released in celebration of the Preservation Hall's 50th Anniversary, the album is a rootsy, high-energy, and spirited mix of New Orleans jazz and blues with some gospel and country inflections.

If you're looking for depth and escapism, there are plenty of albums out there for you to dive into and explore, but if volume and intensity are what you seek, Pig Destroyer have just the punch in the face you've been looking for.