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.