Bad Love has just too many things going on.

Love is the Great Rebellion shows more of Ben Lee's spiritual growth than musical growth, so fans who were attached to the more adventurous departures of his recent work may be disappointed here, but those still clapping along to "Catch My Disease" and "Begin" will surely find comfort in the album.

The tracks on Apocalypse, girl flow into one another like smooth, glassy water, and the collaborations, with improv cellist Okkyung Lee, harpist Rhodri Davis and Swans' Thor Harris, add texture.

[The EP] reveal a steadier, more confident Van Etten, which--surprisingly enough--is just as thrilling as the unpredictable, anxious turns that garnered her so much praise on her last LP.

It's a record built less on borrowed nostalgia and genre fetishism and more on earnest, risk-taking creativity and mixing genres in weird sonic chemistry experiments.

Universal Themes is still overwhelmingly heart-on-sleeve, human; if it's not universal in the specifics, then it is in the way it rawly depicts experience.

Many Levels of Laughter might not have the drugged out vibe that most psych enthusiasts search for, but J Fernandez's versatility makes him one of the most exciting new artists around.

If you're not familiar with Kinski, you may find yourself expecting vocals to kick in, but when they do on the next track, "Flight Risk," the skeezy, barfly style feels tossed off and has a cheapening effect on the song. Conversely, "Operation Negligee" features the most satisfying vocals on the album.

The Shakes is nonetheless brimming with alien sounds and left-field rhythms (culled from objects purchased on eBay), proving that even the most subdued Herbert release is still pretty damn fascinating.

Nozinja Lodge maintains its novel authenticity and stands as a curiosity that is definitely worth a listen.

Peace Is The Mission is equal parts tepid and garrulous, making it hard to get an overall read on this project. Probably best to not overthink it.

The problem isn't with Carnation's expansive instrumental palette, but with the way that the record struggles to use its sounds to captivate, often letting each part float away into the ether.

Before the World Was Big hears Girlpool unapologetically channelling some big feelings in a way that sounds brash without being bratty, and emotional but not without an empowering message.

A much more risky, expansive and intriguing listen [than Long.Live.A$AP].

Ash still generate radio-friendly tunes on Kablammo!, but they lack the depth that they demonstrated at their peak, and sound a little like they're merely repeating their post-millennial releases at this point.

A fine balance of naiveté and stirring wisdom.

The drawback is that the lyrics are often too hushed and garbled, which makes it seem like he doesn't really care about what he's saying, and so maybe you shouldn't, either.

Those looking for standout singles and sing-along choruses best search elsewhere, but for fans of downtempo folk, there is a lot to appreciate here.

UMO definitely have hit their stride with this record, solidifying their place as one of this era's premiere groove-rock bands.

Power In The Blood is a masterpiece in a storied career.

The Story So Far haven't reached for anything radically new on their self-titled album, but they've created a powerful listen that stays memorable and engaging throughout.

Over the course of a full album, the duo's strict adherence to their limited sonic template starts to get just a little tiring, but the Milk Carton Kids' mastery of their chosen form is never in doubt.

The title of their latest isn't hyperbole; if this record's any indication, Silverstein are most definitely still alive.

With ten ridiculously infectious songs clocking in at just 22 minutes, Joanna Gruesome are in no danger of wearing out their welcome.

Ratchet is an exciting first look at an artist in development.

The songs are lushly dense and about as challenging and exhilarating as pop can be.

On The Desired Effect, Flowers aims to be loose and have some fun, but he also sounds more focused than ever. Flowers has spoken of a desire to write an album full of singles, and these songs almost reach that goal.

Cunningham's DJ-Kicks exclusive "Bird Matrix" probably won't fill a dance floor, but its moody detachment is, like the rest of the record, entrancing in its own right.