The stuffed effort could be Lil Baby's attempt to showcase his growth. But one mark of artistic maturity is exercising restraint — less is often more.

PersonA is proof of the exemplary musicianship of Magnetic Zeros, and their ability to forge songs as rich lyrically as they are musically.

Galore, is a soulless collection that feels more like a grasp at brand synergies than an attempt to make meaningful music.

Nothing on Breakin' Point really hits as hard as their earlier work. Peter Bjorn and John are having fun on this album, but occasionally get a little lost in the dance moves.

They've still got a solid ear for dreamy, yet captivating melodies, but with the confidence to push their sound in new directions and see where it takes them.

Similar to how Drake and Future on What a Time to Be Alive, the two collaborators have trouble finding common ground here. They're equally impressive in their own right but they rarely connect, and when they try on each other's styles, it's awkward.

Much of Fixion, while enjoyable, finds Trentemøller stuck on the same weary note, reaching for what's comfortable and familiar rather than pushing his craft forward.

As a whole, it feels less like a sketchbook come to life and more like a laboratory of hermetic fusion jazz and avant-garde rock, which isn't to say it's devoid of charm.

Overall, In My World is a first-rate sophomore effort.

Like every Chili Peppers album, the 13-track The Getaway suffers from bloat.

JJ's sound may be nothing special anymore, but their songs and vibe still stand up.

Bad Love has just too many things going on.

They've elevated their music from songs you listened to at your job in a coffee shop or in your parents basement, to music you want to play in the car or in your grown up apartment. You can find a sense of nostalgia without losing some of the comfort that age has brought you.

Crusher shows that Grave Babies know how to get down with some morbid music, all in the name of good, clean fun.

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

Joey Bada$$ absolutely deserves his position as one of hip-hop's rising young stars, he just needs to learn how to leave them wanting more.

The Last Spire, their tenth and last release, combines all that the legends do well: snail-paced doom, upbeat Sabbath stoner rock and craggly sludge.

While these "in-between areas" are not always sonically pleasant, you can't accuse them of being dull; they make Tyranny the compelling album that it is.

For those of us who've been following his twisting career for decades, for a lifetime, it's hard to complain too vociferously when Neil Young makes yet another daft musical statement. It's just what he does. Sometimes it works; often it doesn't.

It's too long, sprawling and musically unappetizing for many to be willing to sit and digest as a whole. Rather than being a record that you listen to countless times, it's more like an autobiographical book that you read once out of curiosity and shelve simply for the sake of collection.

The songwriting is more refined and consistent yet subtly surprising, and the production is smooth yet punchy.

Venetian Snares is a veritable virtuoso when it comes to drum programming, and as was to be expected, My Love is a Bulldozer is littered with downright slick percussion.

While Wale remains fairly proficient throughout, that clever, memorable wordplay of old is what's most notably absent from this session, and that's a shame.

Ferg regresses lyrically, and pairs his bland rhymes with uninspired production that's hard to sit through. It's not all bad: Ferg still has a knack for writing catchy hooks, and it shows.

A fully realized album filled with beautiful soundscapes and dreamy vocals. It already seems permeated by a certain nostalgia, making it a perfect record to make memories to.

As it stands, it's another tiresome release studded with a few gems.

Machines That Make Civilization Fun is Bigg Jus's best, most well-rounded solo album so far, but it's still a difficult listen that will likely limit the album's appeal to advanced listeners only.

Y2K! certainly isn't a disaster, but it's decidedly inessential, providing some new material for fans of her early singles without revealing any new tricks.