Lovely as it is, Bloom makes no big departures and takes no risks. If you wanted Teen Dream all over again, and god knows there are plenty of people who do, this is your record.

Like most things that result from improvisation, it doesn't always sound as new as it thinks it does, but the reggae stalwarts' freshness is timeless.

Gedge's wryly stilted voice and clever turns of hook are still on display, but without the frantic guitar of Pete Solowka from the group's early lineup, the songs are a bit too slow and heavy.

The breadth of imagination, experimentation and diversity on display across these four sides of vinyl is nearly unparalleled in modern non-compositional music... With this record, Dilloway secures his place as one of the great solo figures of modern noise.

Regardless of the art-school pretentions offered up-front, Yamantaka // Sonic Titan deliver the goods.

This album doesn't reinvent the sound, nor does it subvert it--but on its own modest terms, it provides a concentrated dose of smart, verbose pop.

Pretty Ugly is neither very pretty nor particularly ugly, rather a lumpen, unengaging mess.

Da Mind of Traxman marries the soul of the past with the bangs of the future so fluidly that the sound's innately harsh nature has been marginalized, making for an all-around enjoyable experience no matter the location.

Habits & Contradictions is less like a label-released full-length and more like an amateurish mixtape, a work in progress.

The Block Brochure, ponderous though it may be, is curated carefully and put together in a way that will actually hold up over time.

The Block Brochure, ponderous though it may be, is curated carefully and put together in a way that will actually hold up over time.

The Block Brochure, ponderous though it may be, is curated carefully and put together in a way that will actually hold up over time.

The Belbury Tales can be a potent experience at the high points I've just described, but it spends some time at lower altitudes, too, without ever unambiguously erring.

An enjoyable, at times provocative companion piece, this one's a satisfying musical bath.

Lacking a clear story arc or point of catharsis, Kill for Love drifts off into its own gorgeous gloom.

Heartbreaking Bravery is not an especially weird album, certainly not in comparison with Krug's other work, but it's alluring and intriguing all the same.

While Orcas hits on a heavier emotional level than I'd initially expected, that tendency to drift does endure on repeated listens.

R.I.P is Actress continually shifting and exploring, growing and rippling, being himself in the only Statement-less way he knows how. Its 15 songs aren't for everyone and with few overt melodies, it's definitely not for everyone.

The Money Store is Death Grips's next move, and they sound surprisingly ready to engage a wider audience.

Hair works because even when the pieces aren't well integrated, they are often enjoyable listening.

Mostly as enjoyable as it is edifying from start to finish, the program repeatedly underscores that without artistry of expression, associative anger and the demonizing of one's enemy, however righteous, rarely lead to lasting empowerment for a person or a people.

This uneven album takes time to break in, but each successive spin deepens the relationships among the songs and reveals more details.

Whether your favorite power trio is the Minutemen or ZZ Top, part of what makes 'em great is their ability to simultaneously exploit the format's simplicity and transcend its limitations. These guys do both. Each knows exactly what is required of his instrument.

It's a beautiful collection of 'water music' that also serves as a reminder that experimentation often works best when smuggled in, sidereal style, under the canvas cover of pop songs.

As a cohesive statement, this very well could be their best in a very long time, if not ever.

The album is full of superlative performances, and exudes an uncommon level of energy and joy, even at its more melancholic moments, and is a far cry from Roberts' often cold and hermetic (but excellent) solo performances. Despite Morrison and Roberts's being the featured performance, this is clearly a group effort, a fact further underlined by the band-credited arrangements.

It's an encyclopedia of rhythmic assimilation, perfectly executed, nary a lovingly adopted concept out of place. Catchy as hell, too.

Transistor Rhythm clearly isn't the full-force, wall-to-wall banger album that many were hoping for, but it does show that Addison Groove can successfully and consistently operate in a more relaxed mode.