This is a good effort from these two but could've been tighter. It's best when Lil Baby raps about his emotions, where the two once were and when Gunna brags about how far they've come since. But it's clear, they've still got farther to go.

There's still room to grow, but their adventurous spirit on display across the record will hopefully make for some compelling material moving forward.

Those wishing for a return to the Trilogy days will have to bit a tad longer; across 18 tracks, the Weeknd proves he's ready for primetime here, but there's still a sense of feeling out the new parameters.

Kamikaze hits like an electric storm, shaking into its listeners the disconnection that's resulted from our over-connected world.

It's all weird and ramshackle, but it fits the music so well. With each improvised yelp, clap and audience holler, Butler has created a record that captures his sound, in spite--or, perhaps, because--of his unwillingness to stick to one.

Nabuma Rubberband stretches their dance scope even wider, incorporating trance and underground club beats into their already varied repository of techniques.

An album that's good, but hard to get excited over.

At his best, he updates the Allman Brothers, splicing in just enough of the Bakersfield sound, without sounding nostalgic or dated.

The ambitions, expansions, and collaborations on Vertigo Days mostly pay off, sacrificing a little thematic cohesion for the reward of greater variety in sound. It does the good work of forging musical links out of broken global barriers.

Moon Tides doesn't quite have the same lingering effect as Beach House's Teen Dream, but there's enough here to slide into a wonderful daydream for a half-hour or so.

If Clark maintains the marquee star promise she shows throughout Your Life Is a Record, swaths of the next generation's songwriters will long for her to cover their tunes, and daydream about following in her footsteps.

Much like Ross' affinity for mink coats, Mastermind is grandiose in its presentation, but it still only shows the surface of the man behind it.

The music is as diverse as ever — from psych folk to hard rock to prog-jazz to post-punk to stoner metal ― but Segall’s songwriting feels streamlined and clear-eyed, a welcome respite from the storm that surrounds it.

It’s a fittingly adult album from a pair who’ve long seemed stuck in a loop of playful immaturity — midlife sounds good on them.

The band's albums with outgoing guitarist Josh Klinghoffer weren't bad, exactly — The Getaway in particular holds up quite nicely — but, when listening to Unlimited Love, there's a strong sense of everything falling into place and order being restored.

Despite the lesser tracks on the record, Forward Motion Godyssey is a strong sophomore attempt from Post Animal. The band still have yet to truly define their unique identity, but as they are now, they are one of the stronger genre-bending psychedelic rock groups around.

Illusion of Time is at its best on the tracks whose titles imply clear pictures of light and dark. It feels less focused on the penultimate "Water," which is also the longest track at 8 minutes — a virtuosic experiment that regrettably dispels some of the dramatic oomph and coherence of the album as a whole.

The cleaner sound of Water on Mars introduces a newfound confidence to the music of Purling Hiss and it's certainly a welcome direction.

Overall, soil is a courageous effort where serpentwithfeet's bravery pays off.

While the band clearly have a penchant for aggressive guitar, shouted choruses and thunderous drums, there are also plenty of subtler moments on S+@dium Rock.

The result is an unpolished gem of spiritual ambiance.

Jacklin manages to rouse quite a number of emotions across these 11 tunes, including steady slow-burners, unconventional lyrics paired with bright guitars, hushed, soft singing and grungier moments here and there.

While 10 Summers delivers everything we'd expect from DJ Mustard, it definitely doesn't challenge his artistic growth.

Modern Ruin is a solid, well-balanced effort that showcases Frank Carter's versatility as an artist while pleasing fans of his previous work.

Still Life is a slick, full-bodied collection that shows that Morby has lots of sonic ideas, most of which are great.

Generally, The Temple of I & I is another satisfying Thievery Corporation affair.

Frustratingly, the record seems somewhat sleepily produced by her husband John Leventhal. One wishes for more flourish to distinguish these songs from one another.

Such concerns about the pitfalls of contemporary life are well-worn and Uniform Distortion largely retreads these coordinates. The excitement of this music, nonetheless, is its undeniable kinetic energy, as James laughs through his lyrics and bounds over his riffs.