Jacklin manages to rouse quite a number of emotions across these 11 tunes, including steady slow-burners, unconventional lyrics paired with bright guitars, hushed, soft singing and grungier moments here and there.

The Unborn Capitalist from Limbo is simultaneously unsettling and comforting in nature, as Hanson achieves what he ostensibly set out to do here: set a mood stuck somewhere between Heaven and Earth.

Although Romans is a collaborative effort between two dance floor heavyweights in their own right, the largely dark sound that has distinguished previous releases from Haslam emerges as this record's strongest aspect.

Love in Beats finds Omar's brand of R&B at its most peerless, timeless and, yes... mature.

Perhacs' stellar melodies are bolstered by excellent musicianship throughout, like Cline's watercolour-like guitar work at the end of "Winds of the Sky," and Leddie Garcia's tumbling percussion on "The Dancer."

Washington delivers an LP's worth of ideas, vision and passion into only six tracks and 33 minutes of music.

With Ribbons, it is clear that Bibio is trying to take the best parts of his music over the years and bring them together into one concise, but eclectic, album, and on more than a few moments, he succeeds beautifully.

It's a raucous collection of deeply-felt country — a journey through many lives. And while its electric, dust-blown sound doesn't push into any new directions, it's a fittingly rich setting for Rose's outsized personality and reedy, expressive voice.

Banana Skin Shoes is classic Badly Drawn Boy: Eclectic songs held together by heartfelt lyrics and rich instrumentation. The only thing that's changed is Gough has proved he can dance.

While the record may not have been what she was expecting to create, it illuminates immense growth and versatility in Margaret's strength as a songwriter and as a producer.

You could call Butterfly 3000 the least King Gizzard album of their career — there is next-to-no distortion or guitar riff theatrics. Nevertheless, it's a refreshing departure from the psychedelic garage records the band has released in the past few years.

Wherever he goes, it's a journey solely for himself. That we're invited occasionally to check on his progress in all its disarming, emotional breadth is simply a blessing.

Each Liars album has kept us guessing and WIXIW is no exception, offering us another glimpse of Liars' infinite supply of uncompromising, yet succesful ideas.

Raw Honey is a seductive and catchy pop record bearing its '60s rock influence openly and proudly.

It's not an entirely off-putting mix, but it's only after a few songs that one starts to get a handle on what Branan's up to.

Alvin's rugged and bluesy delivery contrasts nicely to Gilmore's signature ethereal tenor, and their harmonies are sweet. Given that both are accomplished songwriters, it's a mite surprising there is only one joint original tune here, the opening title track.

Opting to re-record a largely unknown demo is a fitting way to bring closure to Mr. Bungle's catalogue. Further, the inclusion of previously unheard songs makes this feel like a proper new release, as opposed to an excuse to shove a nostalgic name back into the world.

Torture is classic Corpse. No complaints.

Though their music can be playful and funny, 100 gecs are very much not a joke. 1000 gecs & the Tree of Clues makes it clear that Brady and Les know exactly what they're doing and that they've got an army of highly inventive and creative supporters standing with them.

Cavalcade is a record that modernizes jazz fusion, evolving it beyond its party yacht past. ... It's smart and well-calculated, expressing their range as musicians.

Roberts' characteristic style is Scottish without cliché, and his marriage of old and new stands out in an oversaturated, strummy-guitar field of singer-songwriters as a gorgeous album from beginning to end.

To See More Light is a masterpiece that organically and coherently blends Stetson's avant-garde playing and dark, complex themes with accessible and compelling compositions that bring a ray of hope not just for the characters in his underlying narrative, but for the future of music.

This record collects the works of Austrian composer Franz Schubert and morphs them into a gloomy meditation on the sure, comforting absurdity of existence.

Coming across as a viscera-churning blast of pure sub-bass propulsion, Borders demonstrates that while Emptyset's methods may have morphed, their madness is still intact.

Continuing to age gracefully, Deftones deliver an emotionally divided release with Gore, one that will continue to endear and swing with your own mood--however you're feeling.

Wherever Thundercat plans to go from here, this EP builds the robust case that one probably should follow.

Though he enthusiastically pushes the boundaries of his sound and image on his most eclectic album yet, Miguel also takes care to make each of its tracks insatiably catchy and breezily fun.

Creative production and Lennox's voice, which brims with beauty and character throughout the album, are admirable distractions from the holes in the songwriting, however.