Witness owes its imperfect existence to garage-punk, psychedelic Afro-rock and the overarching and heartbreaking sentiment that ours is a system that we might not get out from under anytime soon.

While none of Samsara is necessarily bad, there are moments where tracks start to blend together and lose focus. This doesn't necessarily take away from the amazing moments of the album, but as a whole it could use a bit more variance. That being said, the record makes it clear that Venom Prison are destined to join the top of the new-school death metal pack

Overall, Hairball lacks some of the subtlety found in their previous work, but it's still an engaging listen from start to finish.

The album is an offering of loose yet plush stories that trigger memory and mood, and swim with the lithe astral synth and keys that Geotic always plays with.

Ghostly, graceful and deceptively deep, Goodnight Summerland establishes Deland's concise power as a songwriter. As her artistry continues to evolve, it's clear that there's more than one way for her to tell her trademark stories of the infinite worlds within our own.

Compared to Wolfgang Voigt's heyday, Rausch can feel a bit a like a protracted misstep. Although GAS's sound starts to sound a bit dated, Voigt can still be applauded for his approach to storytelling and patience in constructing his electro-orchestral worlds.

So much goes right here, but in scrubbing their songs of imperfections, they've also magnified their flaws. Though not quite stuck in neutral, it will certainly please the band's ever-expanding fan base while not really moving the needle creatively enough to convince sceptics that their initial opinions were unfounded.

On paper, World Record is a middle-of-the-pack Neil Young & Crazy Horse album, but it's filled with so much personality and passion that it begs to be remembered as one of his most soul-bearing.

These sparse pieces beautifully combine elements of modern ambient production with flute, piano and chilly synths that feel anachronistically medieval in aspects of their harmonic construction. The effect is fascinating, and provides an evocative backdrop for Deradoorian's self-reflective poetic philosophical musings.

Thought Gang is for lovers of non-expositional storytelling, crude mystery, lipstick-red esoteric jazz, and noise.

With lyrics that are minimal and often delivered measured and mantra-like, LP.8 is hypnotic, introspectively abstract, and while some may find it too left-field, or lacking her more club-leaning tracks, it's not intended to follow in those footsteps. LP.8 creatively explores Owens' inner life while being inextricably tied to the current age.

Although there may be a few too many half-baked ideas thrown around, as tracks like the hollow "Ujala" and the clunky "Bushy Bushy" demonstrate, 808 State nonetheless come off focused, confident and delightfully wistful on Transmission Suite.

Where the original Something About April was a show a prove lesson in sample creation, part II is a dirt-off-the-shoulder proclamation of songcraft.

My Love Divine Degree adds modern flair to soul and speaks to ChesnuTT's captivating songwriting skills.

Whether Miller is singing on those funk-inflected highlights, or rapping on them with a flow that's airtight to their irresistible rhythms, he sounds like a would-be chart-topper, not to mention one of the most versatile and accomplished hip-hop artists working today. He also clearly has pop chops to rival those of his former flame.

La Dispute are more or less doing what they've always done. They're just continuing the refining process, whatever that is, for better or worse.

While some of this album's material might seem pretentious or esoteric, Amidon's strengths--his musicianship, rustic voice and taste for innovative arrangements--still shine through.

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.

Egypt Station is best when McCartney is at his most eclectic.

While still entertaining, Kaani sounds like the same moving parts with a cleaner exhaust.

Slugger isn't a perfectly polished, radio-ready set of glossy chart-topping pop tunes, but an infectiously fun foray into shimmering, socially conscious synth-pop.

It's only when he applies his production tricks to his own voice on tracks like "Reflection" when things tend to go awry. But its this experimental bent that makes Rap Album One stand out, and deploying these skills judicially in the future will undoubtedly pay off on the evidence of this solid, eclectic debut.

NO NAME isn't quite as white-knuckled as the first time White made music like this, nor is it as hooky as those White Stripes songs that took them from underground weirdos to superstars. But it's exciting to hear White fully return to the sound he's best known for, with its no-nonsense execution heightened by the thrilling manner in which it was released.

Returning to their signature twinkling arpeggiated synths on the bulk of the record's nine chunky tracks, the band hearken back to a pre-Merriweather AnCo era, serving up some of the most accessible and least jarring tunes from the full ensemble since 2009 (save for 2020's Bridge to Quiet EP).

If you dig Baldi's work, this is as fine a collection as any in the Cloud Nothings discography.

Overall, The Triad is a satisfying reminder that Pantha Du Prince is still the best at what he does.

Peaceful yet highly engaging, Ishi invokes the masters of modular synthesis, a music rooted in technology that somehow comes across as utterly primeval.

This album won't change anyone's opinion of Rick Ross, but fans will get everything they love about his music: some standout tracks, an abundance of charismatic luxury raps and a slew of incredible, lavish instrumentals for you to cruise around to.