This mining of the best of days gone by, without falling blindly into nostalgia, makes the Frightnrs' approach a perfect fit for Daptone's retro roster.

There's nothing groundbreaking or surprising about this last record--it's classic Gregg Allman--which is exactly why it's a sweet, solid note to go out on. I'd say we're mighty lucky he gave it one more kick at the can.

Every song on here is an absolute gem, and while it does sound like some of Aphex Twin's previous material, that's probably the best compliment it can get.

Heavy on mood and light on melody, Stadium plays best as background music that you're instantly and repeatedly rewarded for tuning into, but it does little to demand the listener stay engaged, content to let you visit this strange and fascinating world at your leisure.

Putting its small shortcomings aside, Everything That Dies is nonetheless brutally visceral, uniquely textured and unexpectedly melodic. In their second collaborative effort, Uniform & the Body seamlessly put their own personalized twist on nu metal, proving once again that they can work together to take the genre to shocking new dimensions.

Personal touches (a snippet of her father's voicemail, an unrehearsed picking party, field recordings of Chickasaw chants) amplify the authenticity with which Waldon approaches all aspects of her artistic development.

Anthropocosmic Nest is full of loud blasts from the Messthetics, but it's also dynamic, revealing a patient, thoughtful approach to songwriting, which, beyond exhibiting the band's musical proficiency, is a real signifier of genuine friendship and trust.

The tracks on Spiritual Instinct feel somewhat monotonous, comparatively, since Alcest rarely pull back the reins to accentuate the diversity of their (typically) expansive sound.

Memoryland is arguably at its strongest when its homages and nods are less vigorous.

This is easily his most ambitious, personal and hard-hitting work to date.

Ty Segall is a mixture of boisterous and blissful, and certainly is a great place to start if you're looking to introduce someone to Segall's ever-fattening discography.

Hecker stretches to greater heights. If Ravedeath, 1972 and Virgins were pinnacles for the producer, Love Streams leaps into orbit, beaming elegiac streams of sound to the heavens and beyond.

Lyrically, Newman continues to play games that amuse him, but the logical and narrative backflips might be too much this time.

On Illusory Walls, The World is a Beautiful Place give a lot and only ask for some of your time, patience and attention in return. At every interval, they make it worth your while.

The album is an impressive continuation of Tom G. Warrior's often-mighty lineage, addressing each and every one of his strengths while offering something new for those unaware of the history embedded in every note.

Overall, Murs' tenth solo album showcases why he's had a long career with a dedicated fan base, and adds another pin to the emcee's decorated lapel.

In darkness, Dilly Dally found their way back to one another and created light. Heaven is the sound of coming into your own.

Polymer is their darkest record to date. It still sounds undeniably Plaid, but tracks like "Meds Fade" and "Recall," which sounds like barrage of error messages knocking on your front door, will have you reaching for the light switch. Now they can add ominous to their established repertoire of complex and simple.

Her tranquilizing balance of wandering purity and unconvincing bravery is intimately grasped and yet confronted with anxiety and disbelief that decorates her daydream-like prose in conflicting ways.

The music contains all of the trembling beauty fans have come to expect from Alcest, combined with a sense of vitality and wanderlust.

The combination of rich layered instrumentation, carefully orchestrated strings and Stuart Staples' evocative vocals give feelings of loss and loneliness a cinematic grandeur, yet their consistently strong recordings never lapse into sentimental excess. That is a balancing act few can manage, and the group pull it off yet again here.

Stranger in the Alps is a gorgeously written record, and Bridgers shows her brilliance consistently across its 45-minute runtime.

While scanning the state of the world and all its grievous, haunting wonders, Garden of Burning Apparitions continues Full of Hell's exploration of scorched earth, and by sticking to what they do best, they've left another bold stamp on extreme metal.

Warm Chris is neither refined nor contained: it wanders and wonders, affirming the sheer joy of curiosity.

This is an astonishing album, but not an easy listen.

While the band has always been a rock-first concern, the core of God Games is in its mature, layered and emotive downtempo pop balladry.

Temple Beautiful is the sound of a mature rock'n'roller continuing to reach for new heights.

All American Made is provocative, charismatic and endearing, proving what many of country's all-time greats already seem to know: Margo Price is a legend in the making.