Pink Floyd's final farewell doesn't deliver anything particularly unfamiliar to those acquainted with the Gilmour years. However, The Endless River serves its purpose as well as a collection of unreleased material can--it remembers an integral band member while reflecting on past glories in a reserved, respectable fashion.

Hell Can Wait succeeds as a reintroduction of sorts, showing Staples as a more focused and forward-moving artist who will surely outlive "them red roses."

Let's Cry and Do Pushups at the Same Time seems to be Wyatt's way of reconciling his vast repertoire of influences and his many interests into one concise package, and on that idea alone, the album is a success.

If All In My Head is a stepping-stone in their sound, there's something great on the horizon from Seaway.

Dream Police take an expert background in far noisier music and strip it down to its bones, offering something that is simultaneously intense and easy on the ears.

It's obvious for his fans he's making the music he's set out to create and when he's taken strategic measures to please the mainstream. But luckily for his avid listeners, K.R.I.T. almost entirely does the former here, upholding the funky, southern-psychedelic rap that his fans turn to him for.

Sonic Highways is an attempt to channel a different musical energy, but it's one that Grohl does a far better job capturing with his camera crew.

Stalley showcases eclectic strengths on this release, but focus certainly isn't one of them.

The impressive thing about the return of the progenitors of Swedish melo-death isn't the time elapsed since their last album; rather, it's how much it sounds like none has.

While we wait to see what lays in store for Röyksopp's future, we can be thankful that they've offered us such fully realized package, one that reminds us of the power of the full-length and of what has made them such singular figures in electronic music.

Content Nausea reasserts Parkay Quarts as talented musicians able to deliver successive releases that are far more accomplished than many other big label garage-rock albums.

On Faithfull's latest album, Give My Love to London, the collaborations work best when they contrast with Faithfull's signature weathered chanteuse persona, giving a new background for her unmistakable voice.

The strongest moments on IX, like on any of the band's albums, are those that manage to create a vast rock sound by building elements up to impressive climaxes before bringing them crashing down.

It's dreamy eccentricity; a little crazy and courageous, and a strong statement.

Complètement Fou is filled to the brim with catchy electro-pop tracks about shaking your hips, going crazy and road trips.

It's an album that has a nice enough groove throughout, and again, the quality of the production really cannot be overstated.

Although "My Last Nerve" also falls victim to mid-tempo meandering, the remainder of the album serves as some of the best thrash from thrash's best band, who sound like they play their music with a shit-eating grin and a machete hidden behind their backs.

The band have once again found their sweet spot.

On Black Metal, Blunt's style is still very difficult to classify, yet a hint more inviting and amicable than his last.

Alone for the First Time is a pretty solid sophomore album, but it falls shy of Guilt Trips' coming-of-age charm.

This serves as the project's logical finale, and his most daring statement on homelessness.

Fans of his hip-hop and R&B work will certainly be challenged by the sparse and experimental nature of Xen, which makes it one of the most satisfying listens of the year..

Michael may very well contain the best material Bundick has released throughout his already stellar career.

Clark is anomalous but deeply rewarding. It's the type of release you could easily live inside for weeks and still find interesting nooks every single day.

The best moments on La Isla Bonita evoke the inventiveness of Deerhoof's classic albums and their ability to explore seemingly limitless possibilities within their own (admittedly unique) framework.

When he calls the 92-piece orchestra in, the results are mixed.

Only the lengthy closer "Made of Air," while in line with Harris' more drone-based experimental output, seems somewhat unnecessary here.... Otherwise, Grouper's latest is yet another exceptional offering that captures a truly unique voice in a uniquely natural setting.

Dope Body deliver hard-hitting rock, employing skill and effects while keeping things more accessible for their audience (heavy alt-rock lovers) than they did on 2012's Natural History.