Iradelphic is great stream-of-consciousness art.

The record is, ahem, a solid debut that should provide a jumping off point for something great next time ou

For the most part, this is just the same old Weezer with added two-hand tapping. That's a good thing, since the half-hearted metal schtick is mostly just an excuse for frontman Rivers Cuomo and his bandmates to crank their amps and play the power pop they do best. It's a less radical experiment than this year's all-acoustic, orchestra-assisted OK Human.

The fact that AraabMuzik isn't afraid to collaborate with up-and-comers (working on songs with Riot Ten, WattzBeatz, Dvnk Sinatrv) and bring in guest vocalists (Mikey Ceaser, Baauer, Raiche) gives Dream World a diverse mixtape feel that stems from and reflects the mind of a truly singular force.

Sadly, despite flashes of brilliance, fourth record Radlands more often finds Mystery Jets operating on autopilot.

This serves as the project's logical finale, and his most daring statement on homelessness.

For a short album--only ten tracks in 24 minutes--it doesn't take long to recognize the beauty of Bell House.

Lauv has definitely established his own niche. Maybe it's only a matter of time before he becomes one of pop's biggest acts, but for now, ~how i'm feeling~ confirms that he's doing fine looking in from the out

Antemasque isn't quite the return to form that fans of ATDI and Mars Volta might be expecting. As far as fresh starts go, however, it's a promising one.

The band will probably never make a singularly categorizable record, but their unique balance of accessibility and creativity is a definite strength--and it shines here.

This still sounds like the Âme of the past 15 years. Truthfully, without a real departure from their signature tropes, the album doesn't have too many big surprises. Above all, the album serves as a strong reminder as to why Âme and Innervisions have reached the lofty heights that they have.

Monsters Exist stands as one of Orbital's most frustrating albums--the ideas are present, but the execution simply isn't.

We are treated to a smorgasbord of pop's finest elements, blended together in a dizzying melting pot of ideas that could've easily failed, but surprisingly and pleasantly succeeds.

Although those moments may be too fleeting to call Snowdonia a complete departure for the band, fans can will appreciate the added ambition here, on top of the elements they've come to know and love.

I Sell the Circus is an uneven collection from an artist clearly torn between the future and his past.

Deceiver of the Gods gives us everything we expect from the band, along with a little old-fashioned metal revitalization.

Fade Away is by no means a backslide--these are some of Cosentino's best songs to date--but rather than pointing the way forward, this EP feels more like the end of an era.

No World is a heady mix of opaque beats and Romy Madley Croft guitar lines that reverberate throughout the band's 41-minutes of modest club bangers.

At only nine tracks, the album delivers big time in such a short trip and definitely leaves the listener wondering what gems this super duo left on the cutting-room floor.

This album strikes an intriguing, if slightly schizophrenic, balance between gently meandering almost-psychedelia and the restless rhythmic activity of recent dance styles.

The short, sweet The Way packs enough pop-tinged punk energy and emotion to satisfy Buzzcocks faithful, at least.

Given that these recordings span different eras and sessions, High Hopes does have a cohesiveness, flow, and degrees of greatness, but unlike the career-spanning rarities comp Tracks, there's nothing about these lost or revisited songs that screams out "Jackpot!"

On We Got Love, his sophomore LP, the Irish knobturner has managed to produce a coherent album brimming with ideas, styles and guest musicians.

He shines without any features, standing strong in his delivery and carrying his story to the forefront of the 13-track project.

Pure & Simple is at best a middle shelf release in Parton's discography.

Triage is worthwhile in its own right, but it falls just short.

It's the slower, more "mature" tracks that disappoint here.... Still there's plenty to like on Let It Reign for Libertines fans missing that garage rock sound.

A marriage of vocal house, disco and pop, it's an immediately accessible album with several decent dance floor stompers.