At ten tracks, Blood is a more focused and refined effort than 2012's Mercury Prize-nominated Is Your Love Big Enough?, building on what we've come to expect from Lianne La Havas and surprising us with new directions.

V. never rises above space rock, making the album feel like any other '60s hippie/psychedelic record. It's adequate, but when you can easily predict how it's going to play out, you're never left wanting more.

Spitting Fire does an admirable job capturing some of the sodden, smoky tones and wild, wretched energy the band wield in a live setting.

Though unlikely to win legions of new fans, this is another impeccably crafted psychedelic rock record sure to please fans of the genre.

While the second half of the album almost makes up for its flaws, it doesn't quite manage to make Compassion a memorable whole.

Abasi's unique thump technique gives needed life to passages other technical players would simply pick their way through, as Reyes and drummer Matt Garstka lock in to drive these sputtering rhythms home with power and proficiency.

Merriweather Post Pavilion remains as culturally important as it felt back in 2009. Ballet Slippers mines that very significance for its pure euphoria, and with carefully selected performances and interpretations, this celebration of that groundbreaking work does justice to its source material.

NEVER ENOUGH is a cohesive display of genre experimentation that cements Caesar's place as one of the smartest and most talented artists in today's constantly mutating R&B pantheon.

Black Moth Super Rainbow's fifth release may not be their most resourceful work to date, but it's undoubtedly their most sublime.

Here, every riff is full of life, the chemistry popping out in the open spaces, Ozzy's melancholy once again finally, and fittingly, overtop the soundtrack of metallic joy and madness, the whole thing combining to create a perfect metal sound the way only the masters can.

The truth is Trust are masters of delivery and flawless executioners, proving to be much better mechanics than designers.

Each of the 11 here tracks deliver much the same mood however, and if one were to quibble, it might be to suggest that Moomin's beats strive so hard to be tasteful and inoffensive that they sometimes verge on blandness. That being said, if you love your house sepia-toned with plenty of TR808, Moomin's latest is for you.

Handwritten may not break any new ground for the band, but it's easily their strongest release yet.

While the tracks on Hill's End never stray too far from the sound evident in the first few notes of the beginning track, they never feel repetitive.

A Hound at the Hem has the chance to gain the fervent cult following deserving of its hypnotizing layers of analog bass, fuzz bomb riffs, pensive organs, soaring strings, nostalgic harpsichords and a creepy lyrics.

Although there are no real revelations on Intermission, Shigeto demonstrates yet again what he does best.

A near-perfect record. ... Blood flows with humanity, an exploration of diverse cultures, sounds and sensibilities. Rhye reveals that it is in tune with itself and inhabits a world that feels distant and inclusive at once.

The crystalline vocals and dazzling harmonies that TEEN have become known for are replete throughout, and ultimately there are more great than good songs, with the best coming in the latter half of the record.

Something Beautiful does, of course, sound beautiful — Shawn Everett's production is widescreen and larger than life, but still remembers to dial things back when needed, although maybe not always quite enough (Cyrus is an impressive balladeer! "The Climb" was a moment!) — but it also rings hollow.

Get Up Sequences is a nevertheless solid example of the Go! Team doing what they do best.

Between Ant's eclectic, subtle production and Slug's equally nuanced lyricism, Fishing Blues stands out as one of the best hip-hop LPs of the year thus far.

For the most part, these ten tracks are a welcome throwback to the summery fun of The Blue Album and The Green Album.

Both Lights fails to hold together because of its numerous failed lines of attack, which undermine the goodness.

Thomas is still a little too fond of playing around with distortion on the vocals though, almost like a call-back to his really lo-fi days, and it sounds more out of place than ever.

It's clear that White's bravery in baring his soul has resulted in a quiet masterpiece.

The album is a gem. Preemo lovingly wraps brand new Guru verses (new even to him) with his trademark production, earmarked with his iconic scratch choruses, without missing a beat.

By chronicling the redemptive rise and bittersweet resolution of DMX's plot-twist ridden third act, Exodus not only fulfills the tall order of giving a long-overlooked great a fitting send off. It's also the sound of hip-hop's Job finding meaning in his suffering — and, thankfully, peace thereafter.

An overstuffed and engrossing album that's a bit of a mess.