Realistically, Alternate/Endings is not for everyone, but anyone who's intrigued by the dark and unconventional side of things--or thinks that jungle needs a new platform--will devour this album.

Civil Disobedience functions well as a single purpose stoner rock record, but fails to offer anything new or exciting.

UZU is an album that uproots us and transports us into the unknown, but it's an adventure that we would happily go on again and again.

This is another worthy addition to a wonderful discography from a genuine roots music hero.

If you're not familiar with Kinski, you may find yourself expecting vocals to kick in, but when they do on the next track, "Flight Risk," the skeezy, barfly style feels tossed off and has a cheapening effect on the song. Conversely, "Operation Negligee" features the most satisfying vocals on the album.

While longtime fans might be a bit thrown off by some of the more melodic traditional metal elements throughout Jomsviking, the music is well suited to both the concept's narrative and a natural evolution of Amon Amarth's more well known style.

Old 97's show no sign of mellowing out or pandering to their audience, making Graveyard Whistling a sort of stubborn achievement.

It all amounts to a strong album, one that should appeal to both modern, Editors-loving synth-rock fans, as well as older New Order, Joy Division and Cure heads who remember from whence it all came.

Despite being on the shorter side for an album release, Juice is carefully composed; it might not necessarily be a groundbreaking new release on the part of Born Ruffians, but speaks volumes in its playfulness nonetheless.

Across its 13 songs, the beats are crisp, the choruses pronounced and the hooks sharp.

Lenker's writing in general is vivid, and bursts with the kind of verve its subject matter demands.

It's the best album the Who have released since Who Are You in 1978.

Yet another highlight in a career overflowing with them.

Compared to Wolfgang Voigt's heyday, Rausch can feel a bit a like a protracted misstep. Although GAS's sound starts to sound a bit dated, Voigt can still be applauded for his approach to storytelling and patience in constructing his electro-orchestral worlds.

PHOENIXXX is a difficult listen, abrasive and angry, but it's expressive and worthwhile if you can manage to make it through.

THC is filled with indications that it's a labour of love, in every way. Single "Spread Love" feels like the main objective of the record. With help of BADBADNOTGOOD, theMind, Noname and others, the album comes together with live instrumentation and smooth production.

Taken as standalone stories, they're almost brazenly mundane; considered as a whole, Somewhere paints a picture of the small pleasantries and anxieties of everyday life.

It's the kind of brash, whiplash-inducing pop album that only she seems capable of making at the moment. It's a bit messy, but most crashes are.

No Fear… lives up to its name thanks to Black Star's bravery against the odds of falling woefully short like nearly all of their fellow MCs would have. The fact that they occasionally come close to pulling off a comeback as towering as their debut will make you wish they don't wait so long to try again.

Joni Mitchell at Newport is her victory lap.

Fans who have joined the ride at some point in the past 20 years will no doubt be delighted with the dense, stomping chapter found in Orc, though newcomers might feel like they've wandered into a story very much in progress and may be more compelled by some of the band's earlier records.

Expanding upon its predecessor, The Complete Budokan 1978 is an immersive treasure trove that brings us into the storied space for two nights with Bob Dylan. He was a bit restless, heartbroken and perhaps even a little angry, and that got him searching for new muses and new sounds.

The narratives are better developed and there are invariably a couple of lines in each song that hit home emotionally.

What arose from those conjuring sessions is a smoky blend of well-tempered jazz, nearly-still new age, and exploratory adult contemporary vibes. The music is hushed, steady and patient. Synths flourish, horns intonate and a slippery bass swerves all over the place.

Even though it remains an abstract surprise album, Ain't No Damn Way! flows coherently, making for an impressively seamless addition to Kaytra's ever-expanding discography. Most importantly, the record's meaningful callbacks solidify that he has yet to lose sight of his creative North star.

If you dig Baldi's work, this is as fine a collection as any in the Cloud Nothings discography.

I'll Tell You What will keep listeners on their toes, as the album is both immersed in footwork but also pushes against its boundaries, frequently dropping the signature drum machines, working with droning synth, crossing vocal samples, and generally taking left turns just when you think you've got a hold on a track.

Despite his claims of musical malaise, Pink continues to display excellence in his eccentricities on Dedicated to Bobby Jameson, one of his most dynamic records to date.