Raw Honey is a seductive and catchy pop record bearing its '60s rock influence openly and proudly.

Iradelphic is great stream-of-consciousness art.

Triple F Life is good because it's big and stupid.

On Night Melody, West has created a touchingly personal piece of art that feels more like an addendum to Howl than a jarringly new chapter in his musical journey.

Like any secret, it is sometimes sharp and poignant, sometimes mundane. And yet, in its best moments, it becomes a secret worth hearing.

Budding doubt punctures even the first song, "You didn't love me anyway"s filling its final minute. The rest of the album is spent in the reality of the aftermath: that endings don't actually end, they stick, no matter how far Soldevila tries to fling them.

This is Snapchat-raised turn-up music, trendy and self-actualizing through its references to memes that come quick as they go.

Overall, On the Echoing Green is still an interesting listen with many enjoyable aspects, but a stronger, tighter EP might've been made from the first five tracks--or a stronger LP with less distortion and noise in the back half.

Fans will find much to love in Blue Smoke, and while nothing here approaches "Jolene" or "Coat of Many Colors" or "Here You Come Again," songs like the title track or "Banks of the Ohio" wouldn't feel out of place on a playlist next to these classics.

Blossom shows much promise for AI-augmented composition in the realm of electronic sound. It's unlikely that a software version of the Beatles will exist in our lifetime, but Purgas and Ginzburg have proven that the boundaries of technological possibility are completely mutable.

Though Key hosts the padding typical of latter day Doom, the highlights bode well for Madvillainy 2.

The leisurely pace of "In Your Dreams" is too soporific, while "Yeah You Know" lacks the punctuation that needs to accompany Burch when she resigns to "go out west a while." Despite this dilution at times, Bruch still burns bright on Quit the Curse.

The ace in the hole should be Maandig, so foreign is a female voice in the macho world of NIN's industrial muscle. But her vocals are too often drowned out, often intentionally, by the music.

Though the stouter vocals have given the band more confidence for moments of melodic bombast, occasionally they sound out of place.

If one were to quibble, Taste is maybe a couple of tracks too long, and could possibly use a bit more of the sincerity and heartfelt emotion on display on Islands' underrated 2012 gem A Sleep & A Forgetting. Regardless, this is another solid record from a prolific talent.

Dspite its morbid title, Loss of Life contains some of MGMT’s most sincere and hopeful music.

On Warmth, Blondes haven't drastically improved on their sound, but they feel at home delivering ten more high-quality textural cuts.

There are a few shining spots, some merely okay ones and an overall sense that K'Naan is savvy enough to play things on the safer side for now.

Despite this influx of collaborative talent, things sound largely the same on this album, but with a project as reliable as the Go! Team, that's not necessarily a bad thing.

Guided by tiered mixes and honest lyricism, POSTDATA has, for all intents and purposes, succeeded in transporting any inclined ear to a place filled with imagination and whimsy. While it may occasionally wander in finicky obscurity, it nevertheless oozes character and individuality.

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

More than anything, the pair [James Chapman and Emma Anderson] effectively manage to touch on all the details that fans of Anderson and Lush might hope to hear without pandering or retreading old ground too heavily.

Expertly recorded by Martin Bisi (famous for his work with Swans, Sonic Youth and White Zombie), the production is perfect and the songs are mostly more than compelling enough to make it work.

It's a beautifully understated album with subtleties that reveal themselves on repeat listens. Hyperspace isn't quite what fans would expect from a team-up between Beck and the guy who wrote "Happy," and it's better for it.

Even though it doesn't reach the exhilarating highs of their peak moments, Deleter works as a serviceable showcase of the band's grasp of controlled rhythm and noise.

Scenery comes ever-so-close to its intended level of sublime, yet plays things on the safe side: pleasant, powerful, precise.

Side Effects is largely devoid of these big bombastic moments, save the seven-minute incision "NY Money" that centres the album. Nevertheless, White Denim hurtle through the record's nine songs (as brief as many of them are) at a pace that can't help but keep the listener engaged and excited for what comes next.

After 17 odd years of making solo albums, Neneh Cherry surfaces with the force of a jab rather than an uppercut. We appreciate the contact regardless.