Most of Occupied with the Unspoken works like a well-executed indie film score: evocative, exigent and with purpose.

The whole fun of a new RHCP album is hearing the ways they grapple with their legacy and push the boundaries of their sound. In that sense, Dream Canteen offers just the right amount of old and new.

A deceptively lush record full of moments of striking beauty.

This Norah Jones is damaged, dangerous and vulnerable, and Burton's mastery of sound helps deepen the relationship between listener and song.

There's a hidden level of responsibility in his words, with Mill striking a balance between the glorification and the lamentation of his actions.

As with most DJ-Kicks comps, this one shows a different side to the group and is as much of an homage as it is a glimpse into the trio's future.

Volume X is a balanced record, potentially a future classic for those who are into that sort of thing.

It's the type of album that shifts with every listen, making you discover unknown corners of certain songs, with nary a lowlight or highlight in sight.

Lucky 7 is at its best when Statik Selektah delves deep into his jazzier side as a producer, as tracks like "Beautiful Life" and "All I Need" affirm.

Last Night on the Planet is a solid followup with enough variety to please listeners both on and off the dance floor.

While the self-examination he committed to tape this time around isn't quite as pointed as those of other figures in the genre this year, it's a worthwhile story to hear as we welcome Hodgy back to the mic.

A Blemish in the Great Light is endlessly listenable. Because it is so complex, so wrought, it loses an overarching feeling to hold it together, something that might help it read as a whole, as opposed to good songs that are very well done. It'll be a great album to drive to.

While the sonic textures remain in their typical buzzed out territory, the tracks where tempos ramp to harrowing speeds don't entirely work.

At its best, Adams' version of 1989 is an adoring homage to Swift's overlooked talent as a storyteller, though there are also a few key moments that fall flat without the high-gloss bombast that the originals were treated to.

Out Among the Stars is, at least contextually, a reminder that sometimes things got in Johnny Cash's way, but there are very few forces on Earth that could stifle his voice and conviction when he set his mind to getting a song across.

Stars Are Our Home is too much of a hodgepodge.

Sleepwalkers has some very good songs, but often comes off as cheesy and predictable--if a melody sounds familiar, it's probably because Fallon has sung one just like it before.

There are layers to Bleached that are yet to be uncovered. Whether it's worth waiting for is a question still left unanswered.

On their fifth release, Simian Mobile Disco's dedication to challenging their tried-and-true formula has found them coming off looser and more resourceful than ever.

At first listen, the album is scattered and slightly exhausting; it takes several attempts to make sense of everything you're hearing, and some listeners may run out of the patience required to dissect it all. Those with a longer attention span, though, will find SYRE a very promising debut that offers new delight with every play.

The album is a full hour long, and though most of the songs are captivating, a few tend to drag.

On Majid Jordan, it's clear the Toronto pair have refined their sound, with subtle but meaningful touches that make for a stunning, cohesive work of art.

This is feel-good music. On Home Wrecking Years, Canning has developed a sound that is genuine, heartfelt and liberating.

Difficult to dislike. The knowing wink may feel a bit strained as the crow's feet deepen, but it will coax your face into a smile more often than not.

Sharp laments the weakening of expression though technology, which is fitting, as this applies to the album. Where there were once fireworks, the Rentals still deliver a bit of a lazer show.

Annabel Dream Reader feels like the soundtrack to a Tarantino film.

There are at least two too many instrumentals, and songs that stand apart on their own start to bleed together near then end. But the ambition and execution can't be denied. This is the 1975 operating at the peak of their powers.

Michael may very well contain the best material Bundick has released throughout his already stellar career.