Ultimately, Gunna sticks to his guns and delivers a solid effort that lives up to all the hype. He may not be the most innovative MC, but he continues to craft great bodies of work, which is what will cement his career, at the end of the day.

Where once we witnessed the group tilling the fields, Thrice Woven presents the bounty on a shining plate. WITTR still provide a plentiful feast, but the sense of having earned Mother Nature's gifts is diminished.

Wild Peace is a transcendental album that shows a band reaching for new heights, and achieving blissful music that many of their peers can only dream of making.

The Early Years is a ferocious and borderline terrifying slab of feral noise-rock, but it's only a small indication of what it sounds like Girl Band might be capable of.

The trio are adroit musicians with pleasant vocal abilities--loving the falsetto--and if you look past the over-indulgences, the album is solid, if not particularly memorable.

Diehard fans of the Brazilian band who rekindled their interest in the band with the return of Roots producer Ross Robinson will find Machine Messiah lacklustre, possibly even forgettable, when held up to Sepultura's better past work.

While the project does have a mixtape feel to it as opposed to an album, it delivers a lot of heat.

It's a pleasant surprise to hear that he's capable of so much more.

Yorke, it goes without saying, is a fine songwriter, so there's nothing particularly wrong with the solid AMOK. The problem is that there's nothing incredible about it, either.

Although the switch in tempo and style from song to song is abrupt, there's consistency that follows the album through to the end.

Pieces like "Salamander," "Myzel" and the live tracks "Moos" and "Fichte" don't sound like classic Pole as much as they feel like classic Pole.

If there's one thing that Aa demonstrates in spades, it's growth. The record not only shows a wide array of styles, but lays a solid foundation for Baauer to build on in the future.

As Foxygen continue with their disparate series of throwback experiments, Hang finds them closer than ever to striking a balance between their wild, ambitious ideas and innate strengths

There's room for improvement for the melodies and beats, even though the subtle instrumentals help amplify Cozz's voice and his champion storytelling.

There is a timelessness to this record that's as connected to the electric jazz pioneers of the '70s as it is to today's best fusion players.

While Of Montreal's brand of pop music has often been brainy and verbose, these songs offer simpler pleasures. UR FUN is, well, fun.

With verses courtesy of everyone from Schoolboy Q and Action Bronson to Roc Marciano and Danny Brown, Alc continues to wear his hazy influences on his sleeve.

At times, the simplicity of the melodies (the synths at times sound like readymade ones you'd find on a Yamaha keyboard) and decidedly uncomplicated drum machine beats may leave the listener wanting more, but they play into the notion of these characters being pathetic, exhausted and disappointed so well that there really isn't a need for much more.

Instead of taking the easy route of creating a love letter to New Orleans, the band went in the opposite direction, continuing to lead American music into the future.

Replaying Under The Same Sky enough times reveals balanced interplay between heavy warehouse techno and increasingly noticeable individual craft.

Backwater is a mature, rich effort that's likely to see Kllo continue on their ascent.

Throughout, We Fall is a slow, contemplative record, perfect for those introspective, late evenings. It occasionally has some interesting post-rock vibes, especially on the guitar-driven tracks, but elsewhere the slow piano playing is closer to older ambient records.

All Fiction is the mark of a new era for Pile. It's one that might take some listeners time to get used to, but it's an altogether richer and more mature sound that opens new avenues of sound for the band going forward.

It's one of their most streamlined and focused records yet.

Yes, most of us listeners won't understand the Nigerian Ibibio language lyrics that she assuredly bellows and purrs on grooving songs like "Nyak Mien," or "Kuka." But Williams' masterful delivery, not to mention the band's deft playing, more than get the point across throughout this fantastic album.

Röyksopp and Robyn have not only traversed new territory, they've made it their own.