Ultimately, Dagger Beach isn’t the easiest listen--“bewildering” and “bizarre” are perhaps the better descriptions here--but for sheer daring and intrigue, Vanderslice finds fruition.

Clark's talent is undeniable, but only when he's not flogging it half to death.

As evidenced by the rabid tones of Radium Death, his eighth album and perhaps his most demonstrative, Whitmore is both resolute and resilient.

Flowers is his third solo record and, unsurprisingly, it’s a collection of lush, textured compositions that, intentionally or not, accurately depict the graceful, exciting and endless landscapes that Iceland is so famed for.

"Det Hester!" and "Dresinen" vary the formula a bit with, respectively, squelchy synth-bass and fuzzy electric guitar, while the album-closing "Aldri Ska Me Ha Det Goy" is a oozing slo-mo ballad that layers Endresen's vocals to suggest The Four Seasons Sing Pet Sounds.

The point of Alright is not to churn out hit singles but to create an experience for its listeners, to create a concept album. Lindstrøm has successfully done so!

All ten tracks evoke surreal circumstance, given a delivery that's atmospheric, amorphous and hypnotic.

His latest is a bit of a challenge, but worth it for those willing to put in the time.

Sadly the momentum's not maintained once DeCicca and company quickly slip back into their plaintive posturing.

The record is a slow built; one that will likely take a few listens to finally grab the listener. But when it does take hold, these songs are hard to shake loose.

Though only nine songs long, Saturn’s Pattern is as close to heavenly as Weller’s ever been.

The quality [on End of Daze] is solid to great.

Nothing may not be particularly imaginative, but it’s so competent at its craft it’s hard to imagine any fan of the style complaining.

Finds the Present Tense reconciles past with future and makes for a compelling connection.

The acapella gospel of “True Religion” aside, this is a gritty set of songs, performed by an obviously unhinged individual who takes pride in his warped weirdness.

The rock vibe of past records is all but gone but not completely as the final song, “Brio” smokes along.

Essential Tremors hides some of the bands’ strongest songs in years. You just have to dig for them.

It is, obviously, a tribute to Fela’s lasting power and influence that so many different artists want to play his music, and not at all surprising that he was better at it than most of them. Still, no one wants to hear Fela’s fiery grooves diluted, slicked over, chilled out and made more commercially palatable.

Ultimately, Wine Dark Sea is all about the mystique, making it nothing less than a fascinating ethereal excursion.

Although it’s easy to lament the fact that Petty and the Heartbreakers don’t vary all that much from their usual template. Hypnotic Eye also affirms the fact they remain an austere and unapologetic outfit.

Written while staying in the New Jersey house in which he grew up, the record isn’t so much nostalgic as wistful, as if Jones was surveying the streets he used to walk with good memories but no desire to relive the past.

The Ash & Clay, which is the new record from The Milk Carton Kids, is a fine representation of a dish that’s been plated to near perfection with but a small amount of key elements to make it a delight.

Maybe they were trying to evoke Leonard Cohen’s Songs From a Room but they came up with something sweeter (albeit noir-ish) in the process.

Listening back on the first couple of releases, its obvious Alkaline Trio has learned to inject more melody into their songs over the years, though My Shame Is True is closer to their punk-ier sound than the last few efforts.

One Man Mutiny isn't perfect, but it's a highly listenable album from a man who's seen it all.

The themes that combine to create this opus are also suitably sprawling, with subjects that touch upon key events and cultural touchstones essential to British history.

Seven songs long, it offers the impression of one continuous tirade, despite the moments of sublime tenderness that illuminate tender courting tunes like “Heaven Is Here” and “The Enemy,” each of which bring to mind such heartfelt Harper ballads as “Commune” and “Another Day.”

There are hints of a potentially great band on Strange Land, just not enough to sustain a full length.