Granted, the guitar and sax rocker "Sed Knife" stands out for the wrong reasons — it's maybe a little too clean and straightforward given the context--but after years of flirting with the fringes, Half Free hits the art-pop bullseye.

Although a bit more subtle than her 2012 masterpiece Seeds, Overload still ranks among Muldrow's finest efforts.

Although "My Last Nerve" also falls victim to mid-tempo meandering, the remainder of the album serves as some of the best thrash from thrash's best band, who sound like they play their music with a shit-eating grin and a machete hidden behind their backs.

Rambunctious and irreverent, Oxymoron blasts bullet holes in the theory that gangsta rap can't sound fresh for 2014.

Airy, vaguely psychedelic and meaningful, Beyond the Times is a gorgeous exhibition from a thoughtful, voracious artist relishing a whole new outlet.

Wrapping The Practice of Love in avant-pop instrumentation, Hval nimbly threads complex sentiments through its prismatic shades of sound.

Haiku From Zero is another strong effort by a band that continue to celebrate the power of dance music, but as closer "Tied to the Weather" demonstrates, they aren't opposed to feeling the comedown effects, either.

Alpha is the brighter and longer disc of the two, varied in its execution by walking a line between challenging, progressive moments and more accessible fare.

Lovers Rock reflects the Dears' identity as a band, illustrating their development, both lyrically and musically, by intertwining a sense of being down in the dumps with intricate, euphonious melodies.

Aureate Gloom is the point where grief becomes a search for light in creation, adventure and musical experimentation, making even Barnes' more experimental sonic forays sound urgent.

There's a striking sense of command and confidence evident on this EP.

Braindrops is a tumultuous and compelling listen.

Realized with the help of Bird's fabulous backing band, the Hands of Glory, the arrangements on Things Are Really Great Here, Sort Of… are ornate and thoughtful, highlighting both the brilliant Americana song writing of the originals and the sweetly soulful execution of Bird and his band.

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.

Natural Brown Prom Queen is somewhat overstuffed with both tracks and ideas, and the album's chaotic, sometimes hurried nature doesn't always work to its advantage. But even if censoring herself a bit more would've made for a more concise project, the album is nonetheless a captivating glimpse into Sudan Archives' artistic palette.

Cancer Bats' most experimental album might also be their catchiest.

Intentionally or not, Hynes has surreptitiously convinced listeners to deeply engage with his art; we're digging for the grooves, searching out the hooks while questioning our own habits and assumptions, as we look for our own meaning in the music. And there's plenty in Negro Swan.

Life is Good is a well-crafted entry from a seasoned veteran that displays his vitality and vintage flow 20-plus years into his career in a genre where many MCs don't age gracefully.

Rather than make giant artistic leaps every few years or so, Woods are content to push forward incrementally, showering fans with material that nonetheless gets better every record.

Interiors can proudly call itself a rightful successor to the post-hardcore classics status of their first two albums.

It is too early to call this the band's best work, as there is so much more to come from this band going forward. For a heavy album full of unexpected surprises, We Are Always Alone is an ideal second full-length from an up-and-coming band.

Many avant-garde instrumental albums exist to strictly craft a mood, and Tom Rogerson and Brian Eno somehow seem to merge these moods, sounds and themes together effortlessly and radiantly on Finding Shore.

Harlecore is '90s rave held up for review, assessment and full enjoyment, and if there isn't a ton of depth here, the breadth (with Harle essentially exploring four different sub-styles through his various personas) is more than impressive enough to make up for it. It's all pulled off with such glee and energy, that in terms of pure enjoyment, it's very difficult to fault Harlecore.

She's produced an inspired disc that never lets up.

Summerlong showcases Johnson's prowess as a songwriter, as effortlessly as the sun shines on a clear summer day.

While King Tuff has skilfully honed his '70s shtick here, Black Moon's appeal reaches deeper, transcending the novelty with well-written tunes that are fun even for those impartial to the decade.

With the band's integrity, commitment to their craft and immunity to the passing of time, they're sure to make their patient fans happy with Duster.

Flying Microtonal Banana is another wonderful release by King Gizzard.