This collaborative album, It's Hard for Me to Say I'm Sorry, casually sits somewhere in the middle between tonal ambience and noisy dissonance.

Five Spanish Songs is satisfying enough for its 20-minute runtime, but it definitely lacks the heft of his recent work; without his distinctive lyrics, it doesn't really feel like proper Destroyer.

This Connecticut group's latest recording, the four-song, unplugged effort It Kindly Stopped for Me, makes for a less instantly gratifying record that may take a certain kind of hurt to really understand.

On Calling from the Stars, Miss Kittin's ambition comes off as both a blessing and hindrance; it's a cycle of ideas that unendingly feel very close to wearing out its welcome.

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.

Glass represents Hunn's most mature musical sensibilities to date; however, the instrumentation throughout the album is so sporadic and indecisive that it's unclear what its ideal listening setting might be.

When Collegrove is good, it's very good. Unfortunately, it's tough to hear this project as anything but a crude marketing move to keep both rappers relevant until their next solo projects.

While Savage Mode II is by no means a lacklustre album, it may not be the exact product their fans hoped for.

While Container doesn't sound like he's challenged himself creatively on his most recent album, listeners who have yet to hear his indistinguishable, ear-splitting sound will find some auditory excitement.

C,XOXO isn't a bad album, particularly when stacked against the imagined disaster it could've been. The problem is that it sounds like it's been purchased from other talents rather than being curated and homegrown by Cabello and her team. You gotta hand it to her for trying though, even more so for the fact that it nearly, just nearly, works.

It's not quite as bad as you might think. I mean, it's only embarrassing 40 percent of the time, which for Seinfeld, is pretty impressive.

Wilkinson's eighth full-length shows the musician's adeptness at thoughtful, patient compositions, but he seems to have forgotten the value of self-editing.

GLUE will appeal to fans of '90s alternative rock who are looking for more, but will continue to alienate Boston Manor's longtime pop-punk-loving fans.

While Northern Chaos Gods unmistakably sounds just like Immortal, one can't help but wonder how amazing of an album it could have been had Abbath been involved to complete the phenomenal trio that Immortal once were.

There are moments on Long Long Road where Burnett almost makes his case: the rollicking "Baby Don't Go" is endearing, and Ringo is especially having fun on line dance-ready "Why." Much like Brian Wilson's feature-heavy No Pier Pressure, however, Starr mostly feels like a guest on his own album.

If you don't love Kweli, Gravitas won't change your mind, but lifelong fans will definitely find a lot to appreciate on this slight but enjoyable album.

At 13 tracks and close to 70 minutes in length, Abaporu just contains too many (albeit many terrific) ideas and stylistic flourishes to properly cohere as a singular work.

It offers the impeccable, twangy power-pop aesthetics--but also the oversimplification--of [Lucinda] Williams, and the sparkling, immersive production and raw honest lyrics--but also the never quite on key-ness--of the latter [Billy Childish].

Overall, No Cross No Crown is for diehard fans; those who want to hear something new will be disappointed.

On Nights in the Dark, California X are comfortable in their own skin and playing at the peak of their powers, but the album would have fared best as a pared down EP nonetheless.

It has brief sparks of a fresh creativity and has plenty of potential, but doesn't take steps bold enough to totally reinvent itself, making for a record littered with moments that let it sink into the forgettable parts of the band's catalogue.

Corny super group-nostalgia act trying to live up to the untouchable legacy of the members' previous bands? Or timely, and much-needed visceral response to trying times? It depends on your outlook. Prophets of Rage might not be the rap-rock group we need, but maybe they're the one we deserve.

American Man seems to fall into the same [alt country-lite] formula, leaving little space for new ideas. They make up for that with enthusiasm and just enough grit; for those who like their country punk-y, raw and simple, American Man is a breath of fresh tobacco.

Berberian Sound Studio is far from an essential album, but it's definitely a welcome surprise addition for fans of Broadcast, the movie itself or fans of Italian horror soundtrack artists such as Goblin.

Nokia wears many hats throughout the album--but each personality feels authentic. There's never a sense that she's masquerading. Despite Nokia's artistry, though, Deluxe has a few marked flaws. Her cadence and punchlines are amateurish at times, and there's something flat about the production and overall mix. ... Overall though, Deluxe is a solid effort that proves this Harlemite has the range. Fans will surely delight.

Though Armstrong does a decent job of speaking for the freaks and the rebels, Green Day's music is always at its best when he's speaking for himself, and Revolution Radio is no different.

The band's 10th album, is basically standup comedy that transcends parody by being so utterly silly that it's almost charming.

If you're not familiar with Kinski, you may find yourself expecting vocals to kick in, but when they do on the next track, "Flight Risk," the skeezy, barfly style feels tossed off and has a cheapening effect on the song. Conversely, "Operation Negligee" features the most satisfying vocals on the album.