It makes in confident swagger what it lacks in memorable hooks, but at 19 tracks, it's too imbalanced and stuffed to be considered a classic.

Yes, Pianoworks does have its beautiful moments of levity; Cooper is great at that. But the experience of listening to it feels very passive. It's happening, but you, the listener, are not so much involved as you are just in the vicinity. It doesn't wrap you up and envelop you the way Eluvium works often do.

Green's latest effort is a pleasant and sometimes surprising record. Yet, the album's constant adherence an identikit version of the '60s crooners struggles to land any outstanding tracks.

Although there are some standouts on the album, like the vocal push-and-pull of "Don't Move Back to L.A.," the soulful "Shelter Song" and the dramatic buildup of "Human Being Song," Sheff sounds rather lost throughout this album, hampered by indecisive arrangements and ambling verses.

Overall, while it does appear as though Angelides has been bitten by the sophomore album slump, there are some significant moments here that show an artist growing into something bigger and better than ever before.

Drenched in fuzzy guitars, '60s girl-group melodies and a dash of light punk (closer "When I Was Yours" blends all three), it has plenty of sticky hooks and sing-along choruses.

It's an uneven effort by a band that specializes in doing whatever the hell feels right.

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

Daybreaker sounds stripped down, not a step up.

It isn't without its flaws, but Rather You Than Me positions Rick Ross as the boss he's always claimed to be, his raps reinforced by lofty, gold-plated production and added lyrical depth that's as refreshing as a glass of Belaire Rose.

Dépaysé is for fans of Sinkane; new listeners might stop for a minute to appreciate the vibe before moving on.

Clarity, her debut album, falls short of capturing the breadth of Petras's rarity, excluding a few crystalline moments.

While the narrative correctly serves to examine our relationship with machines, and the execution feels as precise as something purely from the world of artificial intelligence, A Separation of Being struggles to find a sonic identity, which might make this a polarizing listen.

Yorke, it goes without saying, is a fine songwriter, so there's nothing particularly wrong with the solid AMOK. The problem is that there's nothing incredible about it, either.

On paper this is a solid album, and Plaid have pushed all the right buttons, but they've pushed those same buttons many times before.

The music lacks the sheer immensity that must have graced it originally, as it's virtually impossible to recreate something so grand at home.

Although the album doesn't repeat a verse-chorus-verse-chorus-breakdown formula, it also lacks distinct or memorable riffs.

Although the band clearly wears its assorted influences proudly on their collective sleeve, this diverse approach can sometimes hinder progress, resulting in some songs that are vibrant, complex and uniquely Cola, while relegating others to the derivative badlands.

The album has all the material necessary for a great release; it's simply lacking in its arrangement and execution.

Having more songs available to stream results in more royalties, though it doesn't equate to a flawless full-length.

Untame the Tiger feels more like something that was worked away at as a healing distraction, put down and picked back up at irregular intervals. The album’s first half generates a positive charge that tapers off toward its conclusion, but Timony’s sly guitar magic is always there to provide a jolt of life.

Plaid remain enjoyable, if a little stuck in a rut.

As a rock and roll journeyman, Lanegan's interesting direction on Phantom Radio is commendable even if it is not entirely magnetic.

Phair is at her best when she confidently picks a lane. Soberish is uneven because of her indecision, but it's still her best album since 1998's Whitechocolatespaceegg.

There are moments of suffering, self-pity and, eventually, redemption throughout the nine tracks, and although there are some missteps, Luke Winslow-King's I'm Glad Trouble Don't Last Always is admirable in its undertaking, and definitely worth the listen.

Bizarster is definitely worth a visit for Vibert fans and anyone who wants to relive some glory days, but considering the sheer size of his back catalogue, it's easy to see this one getting lost on the shelf.

Orth starts off with a very promising narrative, but soon loses the listener, and himself, in the world he's created.

The album is slippery, but perhaps not in ways that are interesting enough to memorable, and definitely not as much as his previous work.