It's a successful return for Ms. Jackson, a grown-ass album that refuses either to pander or wallow in nostalgia.

Four Pink Walls is positioned as a warm up to her debut full length, and there's enough substance here to match and maintain expectations.

Overall, Uncovered stands up as much as you could want a cover album to; Colvin puts her own folk spin on things and keeps that sound strong throughout.

Exhausting Fire synthesizes and fuses those sounds with their more doomy roots.

That Age of Transparency feels less like the collection of singles Anxiety was and more like the cohesive, momentous artistic statement his best work always suggested he's capable of.

Their fourth and decidedly most accessible release to date.

Foam Island is a patchwork album that never ends up feeling quite settled.

After 11 tracks of lewd, enlivened and indulgent riffage, it appears time hasn't rusted the swivel and swagger of Jesse Hughes and Josh Homme; Zipper Down finds the Eagles of Death Metal as greased up and ready to rock as ever.

The material on Innocence & Decadence is everything you'd expect from a Graveyard album plus a little bit more.

There's vitality peppered throughout here, offering enough hope to momentarily forget the despair, as melodies lift the listener briefly before crashing you back down. This mercurial nature makes Arms Around A Vision a beguiling listen, one that's strangely difficult to stop listening to.

On New Bermuda, Deafheaven's myriad ideas are expertly, logically organized across five tracks. It's more proof that it's hard to hyperbolize when it comes to praising Deafheaven, a band that's nearly peerless in its ability to craft fascinating, forward-thinking aggressive music.

[The] 14 tracks feel bloated--less so, though, if one treats Honeymoon as a concept album, a 66-minute Quaalude-and-wine dream musical that spans the history of Hollywood and 20th Century cinema.

While this project will likely infiltrate the Serato of many a nightclub DJ, there's little--outside the three or four cohesive, codeine-fuelled joints surprisingly carried mostly by Future--that reaches the potential of what What a Time to Be Alive could have been.

Though the triumph of 1000 Days is its fusion of light and dark, there are some moments that feel out of place: the murky noise on instrumental "Dovetail" is a bit harrowing against the gentle acoustics on the title track, while "Little Dream," a 38-second spurt of woozy punk, appears and disappears out of nowhere.

Dropping two or three songs would be enough to turn this very good record into a brilliant one.

Rub is fun for a few listens, but it's hard to really fall in love with.

Its tendency to slip into trance-like arrangements can make b'lieve feel a bit too sleepy at times, but moments pop up just in time to pull you back.

Granted, the guitar and sax rocker "Sed Knife" stands out for the wrong reasons — it's maybe a little too clean and straightforward given the context--but after years of flirting with the fringes, Half Free hits the art-pop bullseye.

It's a bold start to another chapter in TesseracT's existence, who will only benefit from having all the pieces back in their rightful place.

Just musical enough to swallow, and just raucous enough to rattle your bones, Girl Band's Holding Hands with Jamie represents all the harmful and healing qualities of noise. It won't be long until you're hooked.

Have You In My Wilderness finds Holter narrowing her focus a little. In doing so, she gets the best of both worlds, showing off her ability to write warm and breezy pop music while maintaining the complexity, and perplexity, that made her so intriguing to begin with.

With Mayberry's recent participation in the discussion of misogyny on social media and in music, it's easy to view these songs through the lens of feminism, but it's just one of the many compelling facets of Every Open Eye's overall scope.

At its best, Adams' version of 1989 is an adoring homage to Swift's overlooked talent as a storyteller, though there are also a few key moments that fall flat without the high-gloss bombast that the originals were treated to.

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.

The one flaw is that at times Frahm allows the songs to continue for too long, losing the flow of the album--particularly between tracks 9 through 11, but later as well--but that's a small concern. Otherwise, Frahm's Late Night Tales curation is a blissful, satisfying experience.

Die-hard Windhand fans won't be disappointed by Grief's Infernal Flower, and new fans mind find it serves nicely as a jumping off point to get more familiar with the group's material. Either way, it's an excellent addition to a record collection for doom fans everywhere.

Toeing a line both musically and lyrically between the darkness and the dance floor, Days Gone By is perhaps best enjoyed in the later hours, whether you're in your own head or out of it.

All A Man Should Do is the band's first album in three years and could do with more of the tenacity that has made them crowd favourites, and less of the self-pity.