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.

Let's Try The After isn't a rehash, nor is it a rebirth. It's a move into the future by a group who know themselves. These songs are confident, seeking, and created of a love for communicating the essentiality of life--what better way to step into the unknown?

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.

Nothing groundbreaking, but a good modern soul album that draws on specific touchpoints--late '90 to early '00s R&B filtered by way of trap-minded beats--curated to today's audience.

Off/On is an all-around more palatable effort would be overselling the band's sophomore release, but once the listener ventures into mid-album territory, it's easy to point out Forma's mounting melodic maturity.

New Material's subjects are too broad for incisive commentary, and its themes of disenfranchisement and helplessness are played too straight for dark comedy. Ultimately, it's about as expressive as those one-word titles would suggest.

“My Day Off” is an instant standout. .... Other songs on Still lack these creative frameworks and aren’t quite as successful in leaving an impression.

Among the paint-by-numbers tracks, Born In The Echoes has still got a couple of artful numbers peppered throughout.

There's No Leaving Now is another sweetly concise collection of ten songs by the eloquent Swede, whose nationality remains brilliantly masked by a Midwestern twang.

The second half of the album has less attitude, exposing the softer side of the band that has come across in the lyrics since its beginning.

The problem isn't just that the result feels more like a collection of demos than a complete record; it's that the songs themselves are generally uninspired, and often feel unfinished despite being co-written, almost all of them, with top-notch songwriters.

It's her relentless musical alchemy that anchors the album, which finally finds Rose being herself, rather than attempting to sound like someone else.

It's a pleasurable, sun-drenched record — the work of a band who've found their voice, louder and clearer than before.

Without ever being outshone nor outright stealing the show, Ghostface does some of his best rapping in recent years and proves he's still got it.

Overall, the 12-track Resistance merges R&B, soul, electro and funk in a package that's compact and complete.

She's surprised everyone yet again by turning her sultry voice and razor sharp intuition in a whole new direction, building Kidsticks off beats and keyboard loops she created in a Californian backyard with Fuck Buttons' Andrew Hung.

Fidlar is easily one of the most energetic and fun-filled records in a while.

Although a few tracks ("Geryon," "Four Gut") suffer from muddy and unfocused melodies, there are far too many great ideas, quirky earworms and sonic peaks to give any critic reason to lampoon the title of this well-conceived, well-executed album.

For fans of synth-wave instrumentals or for those who want an oft-compelling, free-floating soundtrack to their workday, nobody throws a throwback party like Com Truise.

If the self-titled debut was the unobtrusive introduction, Avalanche represents the showy breakthrough the duo have been angling for.

Mixing Colours shows Roger and Brian Eno at their most casual and unguarded, but there's simply not enough variety, curiosity or sense of adventure here to dub it as a must-listen.

Despite the dream team behind it, American Utopia has much to like but little to love, perhaps its most apt, if unintended, critique of the country itself.

It's a raucous, vibrant, but well structured musical approach that brings along recognized artists (like current lead singer Corey Glover and local rap legends Mystikal and Mannie Fresh) for the ride.

Straightforward and simple, A Eulogy for the Damned isn't a work of great musical genius, but is refreshing in its bravado and simplicity.

Musostics isn't an unpleasant listen by any means, but it doesn't have the same kind of warmth and charm as his pals' music.

There's nothing quite crazy enough, however, to be truly exciting and the slower numbers offer little in the way of texture or atmosphere.

It's a solid go at moving away from the sounds of standard house on an album that could have gone either way.

The band compel with each of their unique flourishes, which work together to enhance the listening experience, making Beyul a thought-provoking, yet easily digestible album.