Petrol mixes ambient and free jazz with satisfyingly cohesive results.

Weiss long ago found his own voice, and on Standards he finally captures it on tape for the world to see and hear.

Luneworks is not a lulling listen; rather, the album seems to turn restlessly with sonic insomnia, the songs tracing the arc of some sleepless passage like a night plagued by intense longing.

All told, Painkillers does many things well and few things poorly. It's not a Gaslight record, but it's one that fans will find familiar.

When Collegrove is good, it's very good. Unfortunately, it's tough to hear this project as anything but a crude marketing move to keep both rappers relevant until their next solo projects.

All said, untitled unmastered. is a brilliant mini-album that stands well on its own, but it works even better as a fascinating To Pimp a Butterfly appendix, expanding on and balancing the themes of that album both sonically and lyrically.

The highs aren't quite as high as they might have been ten years ago, but Nada Surf are dependable purveyors of indie rock, and on YKWYA, they are as solid as ever.

Each of the 11 here tracks deliver much the same mood however, and if one were to quibble, it might be to suggest that Moomin's beats strive so hard to be tasteful and inoffensive that they sometimes verge on blandness. That being said, if you love your house sepia-toned with plenty of TR808, Moomin's latest is for you.

Heavily arranged around Hans-Joachim's piano playing, much of the music on Echtzeit is surprisingly melodic, as Qluster keeps a thawing pace throughout the album.

Without Goodman's unique artistic voice anchoring and guiding the proceedings, Music for Listening to Music To feels set adrift, done in not by its makers' stylistic diversions, but by their unwillingness to give the album a proper focal point.

There are moments here where she falls into a nice pocket that the listener might wish she'd remain in for a little while longer.

Låpsley has expressed a fondness for writing sad songs, and while there's a pervasive melancholy to Long Way Home, it remains both accessible and sonically explorative throughout.

While this album is masterful in a number of ways, it's Thao's confessional element that ties everything together.

In these subtler moments, Ward's genius is undeniable; if he employs more of that lighter touch on his follow-up, it'll be the classic that More Rain falls just shy of being.

As is, it's a great outing by Anthrax, if slightly frustrating in its lack of ability to keep the great momentum going consistently.

The Art of Hustle has vision, but it's occasionally weighed down by Gotti's efforts to recreate the success of his biggest single yet.

Given some judicious editing, this could have been a truly great album; as it stands, we'll have to settle for just really, really good.

The cumulative result of these exploratory tracks is a meditative collection that stays true to Submotion Orchestra's house background despite exploring new auditory combinations.

Bullion makes the weird wonderful on Loop The Loop, painting streaks of heartbreak and sadness onto a bubbly, almost animated canvas that evokes as much as it mystifies.

It's exciting to see artists try and change and evolve their sound, so while it doesn't always work here, Seth Bogart definitely shows enough promise to make one wonder what future non-Hunx recordings from Bogart will sound like.

While Higher Power isn't a perfect debut, it's a strong statement of purpose from a band that clearly have a rock'n'roll heart.

Long-time fans will be rewarded in spades, and newcomers to the Wacos could do a lot worse than starting their journey here.

Dig in Deep treads familiar territory both musically and lyrically, but it bristles with energy and feels like an expertly paced live set by a singer and a band having an especially great night.

99¢ is an album buoyed by its sonic playfulness, but which fails to shake its playlist sensibility--entertaining, engaging but only occasionally leaving a lasting impression.

The album's greatest strength lies in its cinematic quality. Every song feels like a scene in the bigger dream The Ridge represents as a whole.

Gershwin features a number of quirky, intriguing turns from Cyndi Lauper, who on paper couldn't seem further removed from this longtime country outlaw but in execution sounds just right.... Better still are the moments in which Nelson goes it alone, pushing his famed high voice in unexpected directions.

There's an overemphasis on influences here that makes Stranger Things more recognizably likeable than imaginative.

Love Yes is a remarkable step forward for TEEN, blending the stylistic influences of their first two records to present a seamless and singular voice.