On the spooky, very unorthodox The Southern Surreal, Legendary Shack Shakers have successfully brewed styles to create an album that is undeniably fascinating.

The weight of Darkest Before Dawn doesn't simply rest on Pusha T's lyrical weight (literal and figuratively), but also his ability to tap into the strengths of his producers, like Boi-1da's thunderous drums, Kanye West's soulful grandeur or Timbaland's unorthodox layering.

Alberta Cross' familiar '70s rock soundscape is lush and relaxed--ideal for the self-reflection that's fostered by long drives, Sunday afternoons and quiet dinner conversations with friends.

The songs are more interesting and less formulaic, akin to the approaches of Q and Not U and No Knife.

This is a must-hear. Baroness are back, and they sound as good as ever.

With the release of Melophobia in 2013, listeners saw Cage create a new identity; Tell Me I'm Pretty takes that change further by exploring new avenues and soundscapes, and it's better for it.

As a follow-up to 6 Feet Beneath the Moon, ANPTD lacks the charm that made his 2013 record amiable. This new work finds Marshall revealing himself through the sound of his combined musical sensibilities and artistry.

A Folk Set Apart demonstrates not just his punk rock side, but all of the many facets McCombs has shown over the years. It would be an odd place to start your voyage of discovery, but then odd is kind of McCombs' middle name--so wander in.

But You Caint Use My Phone is a fantastic collection of songs, and while Badu has dubbed the release a mixtape, it's as strong, cohesive and consistent as any proper soul LP put out in recent memory.

Eclectic, soulful and refreshing, Cool Uncle is a must-hear.

Her solo album is indicative of her strength alone, but it also highlights her importance as a member of Warpaint.

On one hand, it's an endlessly engaging artifact for music dorks interested in an education straight from the source; on the other hand, it simply overflows with some of the best, and most enjoyable rock 'n' roll of all time.

A Head Full of Dreams might have been a poptimist masterpiece. Instead, it's just another Coldplay album, with all the baggage--both positive and negative--that entails.

Kannon is Sunn O)))'s most sparse offering in years, but the experiment in meditative metal minimalism is more than capable of shooting listeners towards a higher plane of consciousness.

Indeed, Melnyk's quick fingers imbue his music with depth that, if explored, reveals harmonies within harmonies.

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.

McGuire's reputation doesn't need any further solidification at this point, but Beyond Belief is another worthy instalment in his hugely respectable catalogue.

Though a bit of a slog at points, what could have easily been a 16-track collection of Griffin's ambition becoming his downfall, is a worthwhile look at the multifaceted nature of his musical brain. It's worth sticking around for.

With a runtime that clocks in at just under 40 minutes and very little banter found in between tracks, Fever 121614 doubles as a great starting point into Deerhoof's extensive back catalogue and a showcase of the band's live strengths, all in one thrilling listen.

Although both fans and newcomers alike would benefit from a more substantial, cohesive project, it's enough for now.

The slow roll-out of singles over the past few months leading up to its release makes Product hard to consider as a singular cohesive package, but as a primer on SOPHIE, it's as good as it gets, a snapshot of an exciting artist whose tightrope walk between sweet and scary, pop and avant-garde, has yielded some of the best singles of the past few years.

With all the memories, both good and bad, unearthed on this album, Best Blues finds Small Black holding their composure, even when it seems like it'll be a total bummer.

With Junun, Shye Ben Tzur, Jonny Greenwood and the Rajasthan Express succeed in creating a textured and energetic collection of songs that transcend genre and the generalizations often used when describing non-Western music. This is music to be embraced and celebrated.

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.

While some may miss the soul and jazz chops of last year's collaborative Piñata, it's safe to say his solo risks have largely paid off.

All of Something is a unique fusion of sounds that cements Sports' songwriting as a compelling mix of impressive and inventive.

The Incredible True Story is Logic's best work yet, but there's still work to be done bridging the gulf between his ambition and his ability.

The result of this endless metamorphosis--it's over an hour long--is an album that is eventually rewarding, but only to those who are determined to follow its scattered pathway to the satisfying, aggregate end.