The songs of Entering Heaven Alive probably won't become the genre touchstones that White's heavier tunes are, but they're a fresh glimpse into a songwriter who, long considered a retro traditionalist, now continues to get more unpredictable with each album cycle.

Totalling more than 80 minutes of chilling ambient, Ghosts VI is as unsettling as it is dazzling.

Three's high points come when some of the pop veneer is pulled back to let more raw, real feeling through. Overall, it's a solid record that should draw a wider audience to Phantogram's music.

The four tracks here also represent a promising step forward for Segall, showing off a succinct amalgamation of the different sounds he has played with on recent albums.

Lux Prima certainly isn't Karen O's most urgent or explosive work, but it all sounds exceptionally lovely.

Throughout the record, Marley demonstrates that reggae can grow and adapt without losing sight of its roots.

She takes a left turn after her more recognizable house palette in the first half of the EP.

Electrically Possessed contains some of their most daring, buoyant and surprisingly solid set of songs, framing Stereolab as a band who managed to stay adventurous and weird right to the end.

Den is a great complement to Tank and like its predecessor, its main fault is that it's far too short.

Whales & Leeches doesn't see Red Fang veering far from their signature, grooving sound, but they deploy all the tricks in their musical arsenal extremely effectively, refining them into a terrible, sharpened point.

Sometimes the way Nash has structured the songs becomes hard to follow, or downright abrasive, as heard in the vocal changes in "California Poppies." Yet there is always a feeling of purpose dictating the clear vision behind "ugly" moments.

An easy listen it isn't, but Ghettoville is full of such textural subtlety, rubbed-raw sound design and spatial aural play that it will leave you somewhat discombobulated yet curious for more.

The Ice Spice collab "Boy's a liar Pt. 2" is perhaps inevitably tacked onto the end of Heaven knows. It's a bit of a self-own, as it easily outshines the rest of the album despite being far simpler in every way. PinkPantheress has become an expert pop craftswoman — but the stripped-down magic of "Boy's a liar Pt. 2" reminds listeners that incredible hooks outweigh intricate production every time.

Lapalux has found his home at Brainfeeder, with Nostalchic and its masterful genre crossings a fitting first release.

Numbers like "Springs" and "NoWayBack," featuring the "good witch/wicked witch" vocals of Berlin Germany's Butterclock, may show that oOoOO is willing to move forward with his music, just not at the destroy-and-rebuild pace that the average ADD-afflicted hipster has grown to crave.

The album offers a little something from every listener, which includes pop-centric songs ("Shrine") bass-heavy bangers ("Era"), an anthemic ballad ("Atoms") and one pleasantly surprising ambient interlude ("Run For Your Life").

John Wizards is a sonic journey both geographically and temporally, without being an exercise in musical channel surfing.

Although there are still growing pains after almost 40 years, Green Day are back with a spiky, enthusiastic vengeance. And that's always a good thing.

Having had their murky fun, Sarah Pendleton and Kim Pack emerge with the confidence and breadth to wring every ounce of emotion out of their instruments.

Raffertie attempts something a bit bolder with "One Track Mind," but the building, repetitive, tinny synths fail to gain a foothold, in comparison to the rest of the album. That aside, Sleep of Reason is an eloquent release.

Like many sophomore albums, Ants from Up There serves both as a clearing house for leftover ideas from the debut and a tentative next step in Black Country's evolution. Serving both purposes results in an album that doesn't necessarily have the same electrical charge as what came before and would benefit from a little trimming here and there. That said, the band is still inarguably one of the most exciting prospects in new music at the moment, and here, the highs are head and shoulders above the majority of their contemporaries.

She's tough and confrontational, and on her 11th studio album, Down Where The Spirit Meets the Bone, that toughness initially comes across as even more deeply entrenched. It takes a little while to discover the tenderness that goes along with it.

Though not without its standout moments, Rabbit Rabbit can sometimes feel a bit too stuck in its comfort zone to convert new listeners. Having said that, the band's snarling, no-nonsense demeanour — not to mention Dupuis being unafraid to tackle heavy topics like childhood trauma and violence — often makes up for the relative lack of sonic diversity.

For their sixth album since their 2010 reformation, the tempo has been slowed down. This accounts for a more refined sound, well-rounded lyrical structure and master musicianship.

Although Bedroom Tapes isn't a great jumping off point to demonstrate what Special Request does best, tracks like the throbbing "Thermatropic" and the joyous "Double Rainbow" make this "forgotten" collection a worthy listen for long-time fans.

Numbers proves that MellowHype are capable of making a good album without employing the over-the-top antics or shock themes they initially used to capture attention.

He may be hard for most country music fans to take, but there isn't a more vital artist working within the genre right now.

Though their music can be playful and funny, 100 gecs are very much not a joke. 1000 gecs & the Tree of Clues makes it clear that Brady and Les know exactly what they're doing and that they've got an army of highly inventive and creative supporters standing with them.

Save the Gun is certainly Militarie Gun's most "mainstream" record, with synths, strings and studio tricks co-mingling with distortion and Shelton's caustic, confessional roar. Unfortunately, not every song is a winner, with a number of uninspired tracks in the second half of the record plodding along without the energy or muscle of the first. .... Thankfully, the final act is positively anthemic, with Shelton's voice and the band's booming sincerity keeping the songs from entering derivative "stadium rock" territory.

While she tries to impress upon us that the girl we knew is now a woman who reads tarot cards and engages in pure sexual pleasure, bold and brash have never entered the lexicon when it comes to Hilary Duff and her music — and maybe they never will. We love her because she stays earnest.

The Heart is a Monster doesn't quite leave the impression mid-'90s Failure did, but despite less experimental approach and cleaner digital production, it's still a compelling listen.

The segues on Death Jokes prove to be the highlights of McMahon's experimentation. "Joyrider," "Predator" and "Solo Tape" succeed because they are unencumbered by the weight of songwriting expectation. Unlike the fuller compositions, these interstitial tracks lean more on the side of musical vignettes.

Awakening isn't going to change anyone's life, but Sacred Reich sound like they're having fun, and on thrash records like this one, that can be worth its weight in gold.

They've still got a solid ear for dreamy, yet captivating melodies, but with the confidence to push their sound in new directions and see where it takes them.

While it may not be flawless, it's another strong entry in a consistently compelling catalogue. His mom called it a masterpiece, and I guess that's all that matters.

Notes of Blue is a solid effort overall; here's to riding the wave of change and surprise as Farrar's songwriting continues to evolve.

Rebound continues her trajectory as an distinctive artist who's ever-skilful in her sonic explorations.

While there is no shortage these days of songwriters railing against soured relationships, Hackman has finally made it out of her twenties with all her good intentions and bad decisions leaving marks on her heart. She's ready to turn those pages and tell her grown-up tales.

All things considered, this may not be the best album ever made by Kid Koala, but it might be one of his most rewarding experiences.

Khaled goes through his hip-hop Rolodex yet again and compiles a strong collection of MCs and producers to add some shine to his latest musical collage.

Never the Right Time is excitingly different, if inconsistent. The well-known pillars of Stott's sound still underpin much of what happens across the album's nine tracks, yet the way those pillars are occasionally arranged have made way for new kinds of space.

Burial's tracks have always sounded sentimental, but it was usually contrasted with caustic backdrops that gave them some bite; on these two tracks ["Hiders" and "Come Down to Us"], it's the missing element.

Throughout the 15-track album, he weaves from hip-hop and psych-rock to R&B and soul, proving that artistically, he will never be confined to a single box.

It's certainly BTBAM's heaviest in a while, paying tribute to the BTBAM's watershed record without copy-pasting. It might fall short of wall-to-wall iconic status, but they already achieved that.

Fans of Mastodon's swamp prog and Tool's art-school alternative will find plenty to like.

Clairo's stylistic variability sets her apart from these artists however, and while some more time and resources wouldn't be unwelcome on a sophomore effort, Immunity confirms she's one to watch.

It's a solid, long overdue return of one of America's great rock'n'roll bands.

He may have ditched the grit that got him here, but the glam he's donning now suits him just fine. While the horse remains untamed, the reins have clearly been fastened.

The grimness of the lyrics works, and for fans of HEALTH and their style this is a worthwhile listen.

Occasionally, there are times when you wish Chastity Belt would shed their melancholic coil and get a little louder; interrupt their carefully considered listlessness with an impassioned outburst. But they prefer to simmer in their milieu, aware of the effect that quiet contemplation has in moving their message forward.

The best moments on La Isla Bonita evoke the inventiveness of Deerhoof's classic albums and their ability to explore seemingly limitless possibilities within their own (admittedly unique) framework.

As an experiment in open source sharing, j US t misses the mark; instead, Faust have left the listener with an oddly listenable LP.

Some of It Was True finds the Menzingers growing up, not too fast and not too slow.

The songs on this album aren't going to be overshadowing the classics that the band built their name on, but they'll sit nicely alongside them, and The End, So Far is a worthy addition to Slipknot's raucous arsenal.

Powers has found the perfect balance between melodic sounds and a darker aesthetic, making his new creative endeavours come more into focus.

New listeners will surely be inclined to throw them into their rotation with open arms, and those already in the know will be glad to hear Militarie Gun continue to exceed expectations.

Though a bit of a slog at points, what could have easily been a 16-track collection of Griffin's ambition becoming his downfall, is a worthwhile look at the multifaceted nature of his musical brain. It's worth sticking around for.

Sure, some of the dark and downtempo beats can begin to sound same-y by the time you're through. And Offset certainly hasn't attained the lyrical brilliance of JAY-Z on 4:44, or any of the other elder rapper's releases for that matter. Nevertheless, Offset's level of growth and candour on Father of 4 is that of an MC making leaps and bounds, both in his music and his personal life.

Focusing on tracks from their 2012 album Slaughterhouse, Segall's band keep things relatively tight in structure and loose in delivery, giving listeners a keepsake version of a gritty, sweaty, earsplitting rock show.

The whole fun of a new RHCP album is hearing the ways they grapple with their legacy and push the boundaries of their sound. In that sense, Dream Canteen offers just the right amount of old and new.

The focused California Nights nevertheless cements Best Coast as one of the few bands capable of straddling the line between intimacy and mass appeal.

Though this is his most contemplative release to date, Flatland still seems fidgety, with each track seemingly owing little to the ones before it.

Everybody's Heart Is Broken Now is a satisfying, long-awaited return for Niki and the Dove.

Even though Protean Threat proves to be an adventurous, quirky and downright strange album at times, Osees manage keep the whole thing sonically grounded and consumable, all while keeping Dwyer's winning streak impossibly alive.

Cozy Tapes skips any syrupy clichés and eschews morbid references to the afterlife, celebrating Yams' life rather than mourning his death. A$AP Mob stay true to the sound Yams helped to cultivate, and in doing so, keep his spirit very much alive.

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.

One thing is clear from Love Is Yours: Flasher have come back stronger than ever, with the tenacity to adapt to new musical dynamics in the same way they convey the complexities of personal connections.

Big Sean has reached a personal high by finding his Dark Sky Paradise, and it's his honesty that takes listeners there with him.

Comb the Feelings Through Your Hair shows Grooms delivering an ambitious album where simple familiarity would have sufficed.

For an indie record, the sound of We Loved Her Dearly works nicely, but Lowell's ambitions--and her songwriting chops--are at another level, and better production would make them more emphatic.

We Come From The Same Place is a lyrical wonderland that keeps listeners exploring more with each listen. Indie-pop or not, it's infectious on many levels.

As it stands, it's a very good record that builds on and expands the musical ideas presented on his debut.

Although a very strong record for what it is, Some Rap Songs lacks the emotional power of the two albums that preceded it, particularly Doris, which charted Earl's transition back to civilian life from a Samoan wilderness camp.

Snares Like a Haircut might be their most accessible and uplifting record yet; released in a time of social decay, it's a statement that rings loud and clear.

Myths 002 certainly delivers in terms of a successful, collaborative and twisted effort between two rather different artists, and may they find themselves recording together again in the future.

Although not as strong as Visiter, Individ comes off as a spiritual partner to their 2008 breakthrough, showing the duo working quite well in comfortable surroundings.

While not as album-oriented as their past efforts have been, Fashion Week functions well as a beat tape through the diverse range of influences that Hill and producer Andy "Flatlander" Morin and have chosen to explore.

Night and Day [is] another true testament by one of America's last genuine musical anti-heroes.

The History of Apple Pie have no illusions that they're reinventing the wheel, but Feel Something should silence critics who dismissed the group as another example of record collection rock.

Chemtrails over the Country Club is sultry at times, syrupy sweet at others, and sad in a truer way than we have yet seen from Lana. It is a well-woven escape, but it is harder than ever not to wonder: at what cost?

Iceage make unpleasant music, but their bland sentimentality is the most disagreeable thing on Beyondless.

The Car is a beautiful calling card for this opulent new version of Arctic Monkeys, even if it lacks the immediacy the band built its reputation on.

Hypercaffium could have been just another instalment in Descendents' long and fruitful career, and that would have been just fine; its biggest surprise is that it offers fans something new if nevertheless familiar, thereby cementing the band's continued relevance after all these years.

No one ever accused the Melvins of being boring--despite calling the record Hold It In, it's overflowing with ideas and creativity.

This record drags in its second half, as several of their records have now done, but there are some all-timers to add to their best-of playlist (along with their standalone single "Warn Me," a phenomenal song not included here) and the rest is enjoyable enough. Tigers Jaw make albums that are good, sometimes very good, but not quite great.

Although it suffers from its divided track list, The Republic reveals Prekop finding comfort in his newly discovered instrument.

The album's weak spot is Darrow's voice, which, although pleasant, isn't as distinctive as those of his peers. Nonetheless, anyone interested in the L.A. country rock scene will find much to admire in Artist Proof, and an additional five previously unreleased demos are an added bonus.

Despite suffering from flatness, the album is an enjoyable enough romp and in its almost naïve purity, it is endearing.

Like any good folk record, The Nocturne Diaries explores timely social and political issues, with songs about troubled youth and abuse survivors, but these pieces lack the raw immediacy that makes politically-tinged folk music work.

Those looking for standout singles and sing-along choruses best search elsewhere, but for fans of downtempo folk, there is a lot to appreciate here.

While the rest of the album blows past you at breakneck pace, there are enough moments where the band let their deeper side show. It keeps Toy interesting.

The tracks on Spiritual Instinct feel somewhat monotonous, comparatively, since Alcest rarely pull back the reins to accentuate the diversity of their (typically) expansive sound.

The Wild Feathers makes a solid first impression, but if they can dial down the earnestness a bit in the future, they'll have a better shot at becoming the great American rock 'n' roll band they clearly have the potential to be.

There are a lot of simply beautiful songs here, but not unlike previous Camp Cope efforts, Running with the Hurricane is held back by sameness. ... Still, it's rewarding to see Camp Cope find the kind of personal and artistic growth that so many long for.

While not as artful as one would like, it's a strong effort and a step in the right direction.

Though Gambino takes himself a bit too seriously at times, 3.15.20's pleasant moments make up for his missteps.

While the disc does eventually find its footing, the clash between clearly artistic and commercial endeavours makes for an uneven and somewhat jarring listen.

Some tracks, like "Doesn't Matter," are splendid on their own, without getting into a showy pop realm: what that song lacks in hooks, it makes up for with micro walls of sound and a choral climax, courtesy of some sublime layering. But others are better at a distance. ... Despite that, Letessier's evidently heightened confidence goes a long, long way on Chris, and its emotions and attitude pop with astonishing strength, even if the sound could afford to do so a little more.