Comb the Feelings Through Your Hair shows Grooms delivering an ambitious album where simple familiarity would have sufficed.

Rose Mountain could be the album that finally brings these hardworking punkers to a wider audience after nearly a decade of existence, and it would be well deserved.

I Wasn't Born to Lose You is a solid return from a band eager to sound like themselves again.

Strangely familiar, yet still a major leap forward, there's a nice pop sheen that sells the record without losing the idiosyncratic production that drew listeners to the duo in the first place.

Aureate Gloom is the point where grief becomes a search for light in creation, adventure and musical experimentation, making even Barnes' more experimental sonic forays sound urgent.

It sounds like the kind of album Ryan Adams would enjoy. Whether or not you find that notion attractive will define how you feel about this record.

Shadow of the Sun is an intriguing journey; hopefully, given more time, Moon Duo will embark on some new adventures with even wilder results.

All told, Bad News Boys is as solid a record as the King Khan and BBQ Show have ever put out, and a must-have for fans of both the band and the genre.

With enough panache to warrant a full-length release, Seasonal Hire is an all-too brief look into four musicians' quest to push their music further.

With 16 tracks and a runtime of over an hour, Archive Series Volume No. 1 doesn't have quite enough stylistic or emotional variety to hold up as a proper album. As a vaults-emptying exercise, however, it's stunning to see just how much quality material Iron & Wine has had sitting around collecting dust for all these years.

Big Sean has reached a personal high by finding his Dark Sky Paradise, and it's his honesty that takes listeners there with him.

The diversity of Future Brown never once feels overwhelming, making the trip through these sounds from a futuristic dance floor satisfying throughout.

The production is top-notch, but Ghost rarely shifts into uncharted lyrical territory, holding back Sour Soul's otherwise consistent production.

While it's easy to go overboard making an album like this and lose a track by burying it in too many samples and obscure references, Projections keeps its focus, and balance, by never using more than necessary.

There are few artists who are as artistically uncompromising, and while EarthEE may not garner the duo many new fans, its quality will ensure it outlives the kind of transient hype they might have shot for.

Despite their sonic similarities, Deacon's fourth full-length has struck an amicable balance between the hyperactive energies and extravagant compositional ideas prevalent in his earlier work.

Although it suffers from its divided track list, The Republic reveals Prekop finding comfort in his newly discovered instrument.

Restarter is remarkably composed and perfectly balanced, demonstrating Torche's ability to continually refine their doom-pop/melodic hard rock approach.

Thematic and cohesive, Supermoon eschews the scattered folk of his LPs for an attentive, intimate perspective on some old tracks that should tide fans of Carey over until his next proper record.

With the skilful assistance of his longtime comrades the Dukes and able production from R.S. Field (Webb Wilder, Buddy Guy, John Mayall), he concentrates on the genre here, with impressive results.

The album accomplishes what Psutka set out to do, which was to convey the dichotomy of club music through a minimalist and deconstructionist lens, and it does so unapologetically and with considerable confidence.

Hearing these two famously unrestricted musicians distil their maximalist instrument vernaculars to primal fits of abstract brutality makes Full Bleed is a fascinatingly insightful record.

Skullsplitter is a triumph of post-modern songwriting, where decisions can be recast and repurposed to suit the needs of the present.

Between only a couple hiccups, If You're Reading This It's Too Late weaves personal raps, 6-side boosts and absorbing production in cohesive fashion. It's an engaging preview of the upcoming Views from the 6.

Hexadic is louder and more gnarly than anything else he's done under this moniker.

There's no denying the highly enjoyable nature of their raw, emotive debut; that they're so young only means there's potential for even better things to come.

It's the slower, more "mature" tracks that disappoint here.... Still there's plenty to like on Let It Reign for Libertines fans missing that garage rock sound.

The best moments are when all of these elements are working together to make songs both catchy and corrosive, like the propulsive "We've Come So Far" (one of the two tunes recorded in Norway with Serena-Maneesh bandleader Emil Nikolaisen) and the unhinged bass feature, "Straight."