Aside from pushy cuts like “95 ‘Til Infinity” and “Amethyst Rockstar,” there are moments when some of the songs on Summer Knights are so uniform that they end up feeling like one exhaustive freestyle with much ado about nothing. But whenever Joey’s delivery gets a little stagnant, he’ll quickly fill a track with a winning bit of introspection and his signature throwback ‘90s flow comes to rescue.

The songs on Music Is Not For Everyone dance the incredibly thin line where they sound completely believable while the sarcasm still leaks through as subtly as a teenager's cologne.

Will The Guns Come Out is a collection of pleasantly rough and catchy minimalist-rock tunes.

Spiritual-Mental-Physical is occasionally slight, and there are fewer developed ideas than a real album release; for every punk etching on the wall, there is an aimless jam that was undoubtedly more fun to play than listen to.

His ability to craft and tell stories in a captivating way has not gone unnoticed, and while Prisoner Of Conscious will not go down as his best album, it does display how versatile of an artist he is.

The passive, languid tone of this album often translates into emotionless muck.

The trio proves it has a fat bag of tricks: floaty fast rhymes (Get’n Drunk), high gravity boom bap (Troublesome) and haunting alien lullabies (Nobody). But the fact that it’s Earl Sweatshirt’s heavy-lidded guest verse in Cold World that’s still stuck in my head probably means MellowHigh still has a few kinks to work out.

I Am Gemini marks a brave and experimental turn in a new direction, but at the same time it's a nod to the old-in the best and least wallowing way.

On this album, it feels like she had been groping for some sense of direction after an exhaustive smackdown. And she decidedly chose the feminine end of her musical ying-yang, opting for quiet, confounding introspection.

A few listens into Gauntlet Hair and its charms start to coalesce.

There's a lot of heaviness swimming around this album, and though some songs, like "In The Grace Of Your Love" and "Miss You," play it lower and slower than your average dance jam, this is still a lively record.

For the most part, songs come off as vapid and barely take a knife to the surface of his earlier work.

Painted Palms’ strength is in their balmy, unhurried melodies. But even such melodic virtues are no match for the sexless nothingness that permeates this record.

At every turn and every track the album is pushing up the RPMs to the point the engine begins to whine, smoke and threaten to explode.

The EP's only weakness comes in the form of "City."

Even though Because The Internet is kind of strange and kind of a bummer, it does show Glover’s range as a musician.

With this second solid Ladyhawke winner, she proves you can make them sing.

Thailand and telephone love letters might not have been how you spent your summer, but Janssen finds a way to make it all seem relatable.

The album is at its best with "A Matter Of Time" and "From Here On Out."

Like the previous three Crocodile outputs, Crimes of Passion is forgettable like a party might be. Some may get sick of it and leave early, and others may find the album similar to a one night stand who says all the right things.

Despite its psych-rock influences, the duo doesn't rely on a variety of instruments to convey the mood. Instead, the band doubles down on reverb, feedback, haunting vocals and doom guitar.

The only mild complaint would be that some tracks feel a little too long (even for the genre) and sometimes a tad repetitive.

Soft hits on some deeply buried emotions (“I left scraps inside of you” on Soft Opening; “If you feel a rusted heart/don’t let them know” on Rusty), but does it with such grace that it’s easy to convince yourself this is an album of all-forgiving love.

The recording quality is smart and sophisticated, and the overall feel of Our Nature is much richer-sounding than on In The Wooded Forest.

Heidecker And Wood's music may not be meant for Tim And Eric, but it's certain that any fan of the show's comedy would enjoy chuckling to the sweet sensual sounds of Starting From Nowhere.

Now that Barrett’s had a solid touring duo together for awhile, and they’ve got a couple albums under their studded leather belt, the duo (Len Clark on skins) has that feeling of an act at its third album phase: assured, strong, but teetering on a decision to leave its comfort zone or not.

Although it meanders for periods, Caveman’s self-titled is a well-crafted collection of songs that feels assured of itself and captures a consistent temperament of joyful exploration.

The back half meanders through woozy loungers like "Chemtrails" and "Sunday Morning" before wrapping up with the spindly, tom-heavy "Neon Dove," which breathes just enough life into the pacing to make you feel like you've listened to something complete by the time the percussion's abrupt exit signals the record's resolution.