On their debut, Jungle show that you don't have to reinvent the wheel as long as it's travelling down brand new, unexplored avenues.

On Luck, Vek has released some of the strongest material of his career; here's hoping there's still someone out there to pay attention.

Using a finite set of equipment to create these seven tracks, much of EX comes off strikingly similar in sound, but Hawtin being the staunch veteran that he is, uses it to his advantage, reusing and appropriating signature tones and modes to craft the most solid live set you weren't lucky enough to attend.

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.

Aporia is foremost an exercise in collaboration — a meeting between two perpetually entangled personalities, an ode to their decades-long father-son relationship and a fitting conclusion to their musically enriched partnership.

Em's new songs give a facelift to old themes — but thanks to his still-astounding wordplay and creative beat choices (Rick Rubin's work on "So Far..." and "Love Game" is a hoot), you can still get lost in the wrinkles.

Willner is clearly letting his time in Germany shape his sound, which isn't a bad thing and it's nice to see another, mellower side to his work.

Crossover Ministry is a well-made crossover thrash album that's sure to be a hit with fans of the genre, and could be the selling point for people just getting into it.

Lanegan's edge is his keen ear for contemporary material that suits the overall mood.

2015's Peripheral Vision was indeed more dynamic and, for that reason, might remain their strongest effort for the time being. But let yourself sink into Good Nature, and you'll find yourself in a place of idyllic beauty.

Not everything lands with the same emphasis as the album's opening moments, but there are enough quality moments across ten tracks--how "Lois Lane" frames the horrors of the "over 30 singles night" at its chorus, the disco drive of "Glimpse of Love," the mid-song sax run of "Feel the Love Go"--to suggest this transformation in sound has yet to reach its peak.

There's plenty to bliss out on here and Holy Wave prove strongest when they focus on the emotional core of their songs as much as on the waves of sonic exploration.

Sweating the Plague shows Robert Pollard achieving the near-impossible; stringing together a steady decade of such strong material this late into his band's career.

Georgas gives listeners the bittersweet beauty of recalling turning seasons and turning points on All That Emotion.

If you've got a unquenchable thirst for reverb-y guitar pop, The Flower Lane is a pleasant album worth a listen, but those looking for something more should probably look elsewhere.

It's more of a steady refinement than a great leap forward. The wait may have been long, but the results are mature and compassionate enough to justify it.

Most of the album feels too much like a work-in-progress.

It offers the impeccable, twangy power-pop aesthetics--but also the oversimplification--of [Lucinda] Williams, and the sparkling, immersive production and raw honest lyrics--but also the never quite on key-ness--of the latter [Billy Childish].

positions has hints of classical and R&B — staples of Grande's previous work. Songs like the title track and "love language" weave in orchestral strings, violins and catchy backbeats to elevate the listening experience, effortlessly meshes these contrasting genres to keep her pop sound distinctive.

It may take Butler a few more albums (he has promised in interviews to continue writing and recording as a solo artist for years to come) to carve out his own identity from the monolithic entity he's a part of, but there are plenty of plausible ideas on Policy for Butler to continue exploring.

There will no doubt be some making the age-old "less is more" argument that comes with any double LP, but that shouldn't overshadow the fact that DIIV have returned with a powerful, immersive sophomore album.

What this album does extremely well, though, is convey the emotional reality of the protagonist using these moody electronics and tempo changes.

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.

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.

Setting a heavy mood with opening track "My Life's Been Taken," Morlix sticks with it through the majority of the ensuing nine songs, painting bleak portraits of desperate men chasing love and money while on the run from past mistakes.

While it might be daunting to have close to 20 duets of mixed genres all on one album, it works for Crow and her crew. These collaborations show flair and offer a little bit of something for everyone, making Threads that much more appealing.

Though Armstrong does a decent job of speaking for the freaks and the rebels, Green Day's music is always at its best when he's speaking for himself, and Revolution Radio is no different.

I Go Missing in My Sleep really shines when Wilsen are at their most intricate.