Copper Gone is definitely a high point in Sage Francis's already significant career.

Weezer have had their share of ups and downs over the years, but Pacific Daydream finds them at their most clunky yet.

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.

Caveman have followed-up CoCo Beware with a solid effort that retains some of the looseness of their debut. However, with the added label pressure, that looseness sometimes feels forced.

As a standalone product, Vroom Vroom only offers a scattershot glimpse at what these two might be able to accomplish.

This LP is pure Dandy Warhols, saturated with Courtney Taylor-Taylor's moody, drawled vocals, wailing guitars and introspective, oddball lyricism.

While mere scribblings from a musical genius can often still trump the best efforts of many, this is not the case here.

He sets ideas down, leaves them to move about, interact and then finally imposes his considerable intuition for the dance floor to form a convincing sonic drama.

Granted, many of these songs were written while members of the band were between the ages of 16 and 18, but it might have been a better idea to hold off on the release of Be Slowly to hone their songwriting skills and define their sound a little more.

Overall, the album doesn't have a lot of replay value besides a few stand-out songs like the Drake-featuring "Oh U Went" and "Went Thru It," which is led mainly by the strength of Metro Boomin's production.

Al Jourgensen's signature vocal bark remains unchanged, but things have slowed down musically. Fans of Ministry's lightning-fast thrash moments will be disappointed by the record's grinding pace.

The production is competent, yet very derivative for 2014, appearing stuck between ornately symphonic leftfield pop and Timberlake-brand R&B.

Lift Your Spirit is rather formulaic from that standpoint--not as spicy or daring as past efforts--but it's folksy, soulful, and groovy enough to catch your attention.

Team Ghost and Fromageau have a number of good ideas, but the band's biggest downfall stems from the fact that they sometimes condense too many of these ideas into too small a space.

As a whole, Yours To Discover lives up to its name; it's an opportunity for fans to hear a different side of Sebastien Grainger, one more relaxed than frantic, more interested in forging a new path than rehashing old memories.

The instrumentals on ye capture the essence of its marquee artist--the contradictions, the abrasive sudden shifts in tone, the blistering flaws and the bounty of positive potential. If West had better delved into his emotional and psychological turmoil in ye's lyrics, instead of getting bogged down with click-baity asides, then this LP would've been a classic.

The tightly coiled rhythms and ominous moods show influences from trap to dubstep, but with around 10 years of mixtapes, remixes and other projects under his belt, the individual influences have long-simmered for a fine blend.

Experience neither recaptures past glories nor forges a new way forward, and while it's better than its predecessor, it nevertheless captures the sound of a legacy rock band stuck in neutral.

Krivchenia has absconded with sounds traditionally associated with beauty, applied his twisted genius, and the result is A New Found Relaxation.

The Calgary-born singer and songwriter showcases an even wider palette on her debut full-length, Sound Of A Woman.

Golden is bereft of relative stinkers, but there's little to bring listeners back.

The best of this record comes early, with opening tracks "Burn Baby," "Fighting the Crave" and "Proto Prototype." ... Scatter the Rats falters as it gets closer to its middle. ... The record picks back up in earnest with some of the final tracks.

At over an hour in length, Teenage Emotions is more quantity than quality.

The mixtape format may excuse the lack of sonic cohesion for the project, but it does not explain the faltering artistic direction that is more than likely to leave Yachty's fans disoriented and disenchanted.

While most of these tunes have been floating around the Internet for the past few years, it's still nice to hear them on an LP that functions as a cohesive record, even if it wasn't designed that way.

Macy Gray is back, easily delivering on expectations.

In adding back into the mix that layer of unpredictability that's served him so well, the EP adds yet enough layer of complexity to an already diverse discography--while placing a few more musical bullets in the chamber for the next world tour.

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.