Nokia wears many hats throughout the album--but each personality feels authentic. There's never a sense that she's masquerading. Despite Nokia's artistry, though, Deluxe has a few marked flaws. Her cadence and punchlines are amateurish at times, and there's something flat about the production and overall mix. ... Overall though, Deluxe is a solid effort that proves this Harlemite has the range. Fans will surely delight.

The record has an unfinished, ramshackle quality to it, almost as if Segall recorded it on a whim, but it's still explosive--nothing seems preordained or fussed over.

The arrangements are beautiful, borderline orchestral, and contribute to an expanding Horse Feathers soundscape. While the mood that Ringle is trying to strike with these ten tracks belies easy definition, what's clear is that Horse Feathers are forging a new way forward.

Reign of Terror builds on the success of Treats without breaking from it, establishing Krauss and Miller as masters of their craft.

These tracks and more prove the octogenarian has as much grit and vigour as country stars a fraction of his age. Indeed, Nelson performs so deftly on Ride Me Back Home that you'll feel the urge to ask this aged outlaw to hop back in the saddle for yet another spryly exciting ride.

The mixed bag nature of Don't Be Scared that is its downfall: a lack of consistency leads to the album sounding more like a DJ set than a cohesive record.

The fascinating thing about this compilation is the range of influences the producers incorporate into their work.

On Gamel, OOIOO praise the traditional while eschewing the benign to create a truly original rhythmic screed.

Corb Lund fans will appreciate the new versions of older material, but the album also has a "greatest hits" feel to it, so it's a fine introduction for the uninitiated.

The resulting poignancy of his honest songwriting is an amazing accomplishment.

Like any colourful kaleidoscope however, there's a lack of cohesion on this debut, as varying production clashes throughout the disorganized project. That's a minor quibble, though; if you look closely, and let the visuals clash and morph into something new, you'll still find plenty to wonder at.

GEMS' only shortcoming are their occasionally cheesy, melodramatic lyrics, and when Usher's intermittent vocal contributions sound like tired grumbles, working against GEMS' aesthetic and Pitts stylized vocal tendencies. Otherwise, Kill The One You Love is an undeniable success.

Ultimately, what So Pitted have--besides a name derived from a YouTube video of a surfer waxing poetic about a perfect wave--is the discovery of a rad tunnel of sound where noise and melody can high five each other with impunity.

Sure, it would've been nice for Jenkins to offer even more such insightful commentary on this LP, rather than devoting the bulk of his lyrics to braggadocio. But this creative, star-studded album nevertheless showcases Jenkins' potential to fill the late Scott-Heron's shoes as a rap poet laureate.

Verminous acts as a solid testing ground for experimentation in the band's sound that works well and could be improved and perfected as time goes on.

There are moments on Long Long Road where Burnett almost makes his case: the rollicking "Baby Don't Go" is endearing, and Ringo is especially having fun on line dance-ready "Why." Much like Brian Wilson's feature-heavy No Pier Pressure, however, Starr mostly feels like a guest on his own album.

In the wake of the recent bass explosion, there's no shortage of artists making similar music, but few of them are anywhere near as compelling.

We then enter the eye of the storm. kick iiii swaps cacophony for the serene comfort of atmospheric subtlety. Songs like "Esuna" grace us with raw orchestral elements which are seldom found in Arca's work.

Sadly, the album can't maintain that pace, and sags near the end.... Still, the redemptive rest of the album--especially the gorgeous closing title track--make The Voyager a welcome return for Lewis.

Repave is an album that crackles, sparkles and swoons in all the right places.

While the majority of tracks involved sound more suitable for a late night study session than a singles soirée, like all good DJ-Kicks compilations, this one succeeds by enlightening listeners, not just seducing them to the dance floor.

Nabuma Rubberband stretches their dance scope even wider, incorporating trance and underground club beats into their already varied repository of techniques.

The inevitable has caught up with O'Brien, who finds himself struggling to stay afloat on The Art of Pretending to Swim. The self-produced record dives into murky waters in an ambitious attempt to incorporate an electronic flair to an already complete set of folk tunes.

Where Longstreth once isolated each of his artistic tendencies, he now seems more willing to let them occupy the same space, rubbing up against one another to create something altogether unique and truly joyous.

This thing may not have a commercial sound, but it is unequivocally memorable.

With the help of his band, he's recorded some of the most pristine, beautiful, exciting and fluid playing and singing I've heard in a long time.

Overwhelmingly, Winter's Gate is a tight and focused melodic death metal album, and yet another quality release in Insomnium's discography.

Monument Building finds Loscil at his most focused, political and meticulous, a bleak but fulfilling listen whether you're aware of the album's brainy themes or not.