Like any colourful kaleidoscope however, there's a lack of cohesion on this debut, as varying production clashes throughout the disorganized project. That's a minor quibble, though; if you look closely, and let the visuals clash and morph into something new, you'll still find plenty to wonder at.

GEMS' only shortcoming are their occasionally cheesy, melodramatic lyrics, and when Usher's intermittent vocal contributions sound like tired grumbles, working against GEMS' aesthetic and Pitts stylized vocal tendencies. Otherwise, Kill The One You Love is an undeniable success.

Ultimately, what So Pitted have--besides a name derived from a YouTube video of a surfer waxing poetic about a perfect wave--is the discovery of a rad tunnel of sound where noise and melody can high five each other with impunity.

Sure, it would've been nice for Jenkins to offer even more such insightful commentary on this LP, rather than devoting the bulk of his lyrics to braggadocio. But this creative, star-studded album nevertheless showcases Jenkins' potential to fill the late Scott-Heron's shoes as a rap poet laureate.

Verminous acts as a solid testing ground for experimentation in the band's sound that works well and could be improved and perfected as time goes on.

There are moments on Long Long Road where Burnett almost makes his case: the rollicking "Baby Don't Go" is endearing, and Ringo is especially having fun on line dance-ready "Why." Much like Brian Wilson's feature-heavy No Pier Pressure, however, Starr mostly feels like a guest on his own album.

In the wake of the recent bass explosion, there's no shortage of artists making similar music, but few of them are anywhere near as compelling.

We then enter the eye of the storm. kick iiii swaps cacophony for the serene comfort of atmospheric subtlety. Songs like "Esuna" grace us with raw orchestral elements which are seldom found in Arca's work.

Sadly, the album can't maintain that pace, and sags near the end.... Still, the redemptive rest of the album--especially the gorgeous closing title track--make The Voyager a welcome return for Lewis.

Repave is an album that crackles, sparkles and swoons in all the right places.

While the majority of tracks involved sound more suitable for a late night study session than a singles soirée, like all good DJ-Kicks compilations, this one succeeds by enlightening listeners, not just seducing them to the dance floor.

Nabuma Rubberband stretches their dance scope even wider, incorporating trance and underground club beats into their already varied repository of techniques.

The inevitable has caught up with O'Brien, who finds himself struggling to stay afloat on The Art of Pretending to Swim. The self-produced record dives into murky waters in an ambitious attempt to incorporate an electronic flair to an already complete set of folk tunes.

Where Longstreth once isolated each of his artistic tendencies, he now seems more willing to let them occupy the same space, rubbing up against one another to create something altogether unique and truly joyous.

This thing may not have a commercial sound, but it is unequivocally memorable.

With the help of his band, he's recorded some of the most pristine, beautiful, exciting and fluid playing and singing I've heard in a long time.

Overwhelmingly, Winter's Gate is a tight and focused melodic death metal album, and yet another quality release in Insomnium's discography.

Monument Building finds Loscil at his most focused, political and meticulous, a bleak but fulfilling listen whether you're aware of the album's brainy themes or not.

The songs on On the Green Again are long, and some listeners might find the album a little wearying by the end. But Tiger & Woods are first and foremost purveyors of party music, and in the hands of a skilled DJ, all these tracks should be able to ignite a floor.

he only complaint (quibble really), is that a number of the pieces don't have endings. ... Otherwise, this is an enjoyable and important document. One of many for a pioneer we are all grateful to have discovered.

Dal Forno is still true to the homegrown production that fans grew to love; Look Up Sharp is showing listeners just how much she's evolved in her slow-moving, wistful world.

Keery could have gone back to the alt-rock psychedelia that already earned him plaudits; instead, he took a risk and made DECIDE — a funky, sometimes goofy sci-fi odyssey with tons of twists both sonic and emotional.

To the Happy Few doesn't feature many standout songs, but as a whole, it's a remarkably cohesive, often unpredictable piece of work.

Songwriters Brendan Kelly and Chris McCaughan are in peak form and are far too self-aware to fall into that old trap; they know better than to chase capricious youth.

Aside from her moving rendition of little-known folk artist Zoe Mulford's "The President Sang Amazing Grace," Baez chooses songs that are close to her heart and represent her long journey, political struggles and ideals succinctly.

Cult Following manages to be danceable, fun and impactful, all in a tight 45 minutes.

The theme of perseverance resonates strongly on the album, and the imperfections and vulnerabilities in his vocals help to encapsulate the artistic progression.

Such concerns about the pitfalls of contemporary life are well-worn and Uniform Distortion largely retreads these coordinates. The excitement of this music, nonetheless, is its undeniable kinetic energy, as James laughs through his lyrics and bounds over his riffs.

As certifiable members of rock royalty, the Pretenders hit all the right notes with this latest entry to their expansive catalogue. Hynde teases at the borders of the expected, without disrupting the core formula that has contributed to the band's longevity — unwaveringly authentic as ever.

Chami really does know how to use her voice to soothe, entrance and fascinate. This, combined with the uncanny synth melodies that she is able to concoct seemingly out of thin air, is what makes her music enjoyable, and practically ineffable.

If nothing else, White Reaper Does it Again offers up a heady, enjoyable dose of nostalgia.

Although it lacks the kind of Apple-friendly jingles that have made them such a smash, it makes up for it with palatably overarching political themes and sequencing that gives it the wildly entertaining feel of a circus show.

Plumb is a rich, complex album, with the songs spilling over into each other.

There's definitely a familiarity to their sound, but once you get past the derivativeness of it all, there's much to like about Toy.

Bringing in a slew of analog instruments, mostly to give each track its own disposition, Lissvik pulls together swinging piano, shuffling guitar, drums and loads of modular synth lines, and though he does a great job of keeping the album instrumentally diverse, he falls into the same textural and spatial avenues throughout much of the album.

This compilation shows the lasting impact Funkadelic has had on popular culture and on subsequent generations of innovators, striking a balance between reverence for the originals and creativity from the re-visitors.

Because of the tightly cohesive kick-off in the first couple songs, the remaining album feels slightly haphazard in comparison. ... PITH is an album that old and new listeners alike can sink their teeth into and ride out a season of summer days holed up in their bedrooms.

On the whole, the album suffers from a bout of dullness, with the majority of tracks mingling in a grey area, struggling to push through their apparent amalgamation and stand on their own.

Interiors can proudly call itself a rightful successor to the post-hardcore classics status of their first two albums.

It's rare for a posthumous release to not only live up up to the artist's previous work, but properly capture their aura and spirit in the way that Forever manages to.

[Space Gun] is a little more what you would expect from a GBV album. You have some sing-along mainstays, including the title track and "Blink Blank"; it's slightly different, while comfortingly the same. It already fills you with nostalgia, with the album not yet attached to any specific memories.

There are enough great moments, such as "Why Are You With Me" and "All My Love," to make this his strongest solo record in quite a while, but it is still far from his best work.

Whitechapel have reinvigorated themselves without reinventing the sound they became known for and, in the process, produced an appropriate follow-up to their sophomore success.

This ranks amongst Gelb's most vital albums in an already storied career.

Pylon is sweet 16 for these 50-somethings, and honestly, it couldn't be sweeter; Killing Joke are still promoting the driving dynamics of post-punk, and still doing it better than the rest.

This is pop music designed to give you all the feels, and even with a disruptive pseudo-reggae track thrown into the mix ("Candles"), Future Islands prove that they can do it better than anyone else right now.

On the very next track, "Weapons," the production becomes quieter and dreamier, losing the noisiness and dirtiness that made Dälek so appealing in the first place. This continues throughout most of the album, which exchanges the sharpness of Absence for the gentle breeze of a drone record. If the group increased the focus on MC Dalek's rapping as a trade-off that would be fair, yet for most of the record his vocals are given an oddly low priority in the mix.

Embracing her past while looking forward, on GOOD LUCK, FRIDAY makes her own.

More than anything, the pair [James Chapman and Emma Anderson] effectively manage to touch on all the details that fans of Anderson and Lush might hope to hear without pandering or retreading old ground too heavily.

It's the danger that comes from walking that fine line [the nexus of sonic experimentation and pop hooks] that makes the album such a welcome return.

Rhine Gold does feel a bit frontloaded, with the most compelling tracks happening in the first half, losing a little momentum towards the end, but this is still a superb release.

It's the layering and attention to detail on these tracks that further reaffirms that Black Milk is now firmly in his own lane.

You Deserve Love packs plenty of pop hooks into its short runtime without losing any of its rock swagger. White Reaper are playing like they have nothing to lose on You Deserve Love, and the record is all the better for it.

"Dream Dream Big in the Sky," with its pat chord structure and surprisingly mundane lyrics, is the album's only true misfire. On the whole, however, For My Crimes is another intricate, emotionally complex folk record. It's what we've come to expect from Nadler after all these years.

This is not exciting music; it's a hypnotically paced political screed.

The mix is so unique that it, plus the running time, might drive casual listeners away. But if you're that sort of person who likes Mayhem and Mavis Staples, this is for you.

Few would mistake White Stuff for golden age Royal Trux--the vocals are more subdued, the songwriting is more straightforward, and anyone looking for something as confrontational as "The Banana Question" won't find it here. But hearing Hagerty and Herrema stay true to their ethos after 30-plus years offers its own satisfactions. Consider the comeback complete.

Are You Serious is a mature and confident record that finds Andrew Bird exploring myriad new sounds while remaining instantly recognizable.

Tracks like "Roses Are Falling" and "Take You Back (The Iron Hoof Cattle Call)" are solid entries to the classic country canon of Glen Campbell and Loretta Lynn, while his impressive vocal range helps keep the album varied. His breathy croon drives erotic lovers' ballad "Big Sky," while his formidable belted falsetto elevates "Winds Change" beyond mere Smiths pastiche.

It's tempting to label Beard, Wives, Denim as a tossed off side-project that doesn't stray too far from its more famous parent band. But Pond have something more to offer and both fans and detractors of Tame Impala should give this a listen.

Power manages to keep Dumb Flesh sounding uniform and digestible, a great feat for an artist hell-bent on dissecting his craft.

The thing with As You Please is that while it feels uneventful, it also seems like Citizen might be just on the edge of a breakthrough.

While Lynn's aesthetic development occasionally results in the project reaching pop-heights not in its reach before, it also blurs the line between this and Fohr's other projects.

Like their previous albums, Land of Sleeper transcends when taken in as a whole, with tracks that are perhaps individually a bit workmanlike but soar when plugged next to the surrounding pieces.

Wave[s] is a clear indication that Jenkins is expanding his sound and stepping away from expectation as he prepares his debut album, The Healing Component. But in the meantime, he's established himself as an artist with even more to offer than many predicted

Years to Burn is a beautiful sounding recording and for fans of Calexico and Iron & Wine's initial collaborative release, this is a nice treat after all these years. But ultimately, Years to Burn doesn't have the same spark that In the Reins did.

They haven't abandoned their political senses, no, but they have moved into a new gentler phase. The elements that stay the same are their intentionality, their honesty and their vulnerability.

Picking up where their 2002 self-titled album left off, Oblation is a triumph of doom metal and stoner rock.

Networker is like a clock; it never hesitates or loses its pace, and it's constantly ticking. Yet the record feels unhinged, wily and obscure — as if the clock is hanging so askew, it might just fall off the wall.

if i could make it go quiet is a testament to girl in red's rapid growth as an artist. In addition to a sophisticated examination of anger and suffering, her voice has grown richer and deeper while her sound has evolved to blend punk nostalgia into her youthful ennui.

Tift Merritt and her wonderful band deliver big time with this record ... Despite it being very early in 2017, it's safe to say this album will be on many year-end lists come December.

The ambience of Second of Spring is pleasing for sure, but there's nary an earworm in the 17-song bunch.

This isn't the boldest step forward, but it looks like Local Natives are on a steady ascent and Hummingbird is sure to solidify them as one of the best indie-rock bands out there today.

It's a meeting of musical minds, and the resulting electro-traditional dialogue is fascinating.

Fans of Braids and those interested in the kinds of personal, political and artistic struggles this work deals with will enjoy spending time with this new record.

GN isn't a huge step towards indie stardom, but it should get them in the same conversation as like-minded peers like Pinegrove and Big Thief.

While “Tacos and Toast” is a cozy, country delight about a relaxing Saturday that develops a sharper edge as it moves along, some of Hole in My Head’s more low key tunes fail to match even the too-slick immediacy of its louder rock songs. That said, the record’s showstopper is “Give Up the Ghost.”

While it's a huge pleasure to hear him pick up where he left off, this isn't the overwhelmingly triumphal return one might have hoped for.

EarthGang's otherwise lean and careening style has the potential to reach the acclaim earned by their label head J. Cole — even if the stratospheric success of Stankonia remains out of reach for now.

Cantus, Descant is accessible without ever feeling thoughtless, plays to Davachi's sonic strengths, and provides just enough experimentation and variety to justify its daunting running time. It's a journey worth taking.

The songs, although well assembled, lack the edge that the band is known for, which could be hazardous.

This album is yet another triumph in Bonobo's incredibly consistent career, and if the Black Sands and North Borders tours are anything to go by, the live rendition of Migration will be one of 2017's highlights.

Hypnotic Eye may just be a solid middle-of-the-pack release as far as Petty albums go, but only a fool would complain about having another 45 minutes of music from one of rock & roll's premier units.

In a Dim Light turns out to be a frustrating listen; it's an adventurous outing by a band that plainly need to sharpen their craft.

Mayer's instincts, developed behind the decks, come subtly bleeding through on Mantasy, but his sophmore album also shows an artist that's comfortable with revealing lurking melodies and smearing the lines between genres as a producer.

Bold and robust, these eight tracks are sure to engage any fan of the label's prior output.

Although the band manage to avoid the self-indulgence that often comes with ability and ambition, Autotheism does occasionally lose steam.

Lesser Evil proves that Doldrums can roam without fear of getting lost.

One of the very few bands that can combine melody with hardcore and make it pack a huge punch, BoySetsFire have crafted another excellent release.

The result is Protest the Hero's best effort to date, one where (relative) restraint yields a far more powerful product.

Rather than slow down and chill out, he chooses to mirror our own sped-up reality in his music, with impressive results.

Though it does eventually get bogged down under its own excess, considering the weight Slipknot had to shoulder to even get this album out, it's a considerable accomplishment and a lovely eulogy to their fallen comrade.

Cosmic Troubles is not only stunning, but unexpectedly so--it's not often we get musical reinventions as sudden or dramatic as this that work so well.

Many Levels of Laughter might not have the drugged out vibe that most psych enthusiasts search for, but J Fernandez's versatility makes him one of the most exciting new artists around.

Portraits is a successful attempt at an album steeped in tranquility that can also keep you moving.

E·MO·TION demonstrates how little improvement could be made on her sharp, consistent songwriting abilities. These are perfect pop songs; a few more rare glimpses of their rougher edges would make them all the more spectacular.

The material on Innocence & Decadence is everything you'd expect from a Graveyard album plus a little bit more.

Bringing a higher degree of polish to the table than past bedroom recordings, the duo also show off an impressive palette of sounds on their dozen beats.