Heart-rending, arterial and woundingly authentic, As The Stars is a hell of a record to drop on Valentine's day.

A Series of Shocks shoots for a different kind of looping hypnotism but lands slightly short.

An impassioned record that feels like their most raw, personal work to date.

The songs--though sparely produced as usual--sound picked over, like they've been played too many times and have lost their fire.

Good To Be Home lives up to its title and is easily his best and most consistent release since Below The Heavens.

She may be the daughter of punk royalty, but with Twice, Hollie Cook cements her status as a principal figure in the UK reggae scene.

Black Hours could easily have been Walkmen-lite, but Leithauser's ambition to seize the opportunity, and eschew the obvious, results in an album his voice--and a number of his fans-- has no doubt longed for.

Are We There cuts deep into the skin of its creator and finds Van Etten more exposed than ever.

Röyksopp and Robyn have not only traversed new territory, they've made it their own.

For much of Meteorites, strings attempt to fill in the hole that was the band's characteristically dynamic, propulsive low-end, to mixed results.

There can be beauty in decay, growth from devastation, and A U R O R A helps open your eyes to that perspective.

Scruff's in his forties but the assured, mature Friendly Bacteria is the antithesis of a mid-life crisis.

Volume X is a balanced record, potentially a future classic for those who are into that sort of thing.

While the album showcases the band's equilibrium and by now unquestioned versatility, it does mean that amidst the intended dissonance and vocal cameos, Black Thought's verses are not as prominent.

On paper this is a solid album, and Plaid have pushed all the right buttons, but they've pushed those same buttons many times before.

Fans will find much to love in Blue Smoke, and while nothing here approaches "Jolene" or "Coat of Many Colors" or "Here You Come Again," songs like the title track or "Banks of the Ohio" wouldn't feel out of place on a playlist next to these classics.

His songs no longer have the raw-nerve urgency they once did, which makes Upside Down Mountain a pleasantly peaceful listen, but lacking the power and urgency of his best work.

It has brief sparks of a fresh creativity and has plenty of potential, but doesn't take steps bold enough to totally reinvent itself, making for a record littered with moments that let it sink into the forgettable parts of the band's catalogue.

For their sixth album since their 2010 reformation, the tempo has been slowed down. This accounts for a more refined sound, well-rounded lyrical structure and master musicianship.

At times curiously familiar, Sylvan Esso exists in a sphere not a million miles away from other pop/electronic hybrids such as Blue Hawaii, Purity Ring and Austra, but what impresses most here is the quality of the vocal melodies as well as the attention paid to carving out solid low end frequencies, a trait sadly ignored or fumbled by most other indie-electronic hybrids.

As much as it is possible to describe the hissing whispers and supernova roars John Haughm's vocal performance, or the galactic wonder of Don Anderson's guitars, the sticky and celestial spirals of Jason Walton's bass lines, or the powerful alchemical engine of Aesop Dekker's drumming, together they form something greater: a massive, sublime universe unto itself.

With smartly layered melodies and excellent vocalists, the band really isn't that far off from a parallel universe Lamb of God (if they were raised on Aborted), at least in theory. This is a huge compliment.

Ultima II Massage marks a fresh direction for this always-challenging supervillain.

From powerful riffs to heartbreaking melodies, Down IV – Part II is yet another example of Down's flawless work.

Goodman remains a sharp and confident songwriter, and buried underneath the noise there's still plenty of charm here, but dialing back all the bluster would have gone a long way.

It all sounds great, but the songs don't sink in, don't push past the surface.

Unrepentant Geraldines is personal and political and refreshingly void of marketing gimmicks or befuddling collaborations. Rather, Tori just comes bearing songs straight from the heart/head/hands/Hell.

Nabuma Rubberband stretches their dance scope even wider, incorporating trance and underground club beats into their already varied repository of techniques.