Existing in layers, The Electric Lady revels in its polarity. The overriding statement, however, is that Janelle Monae has arrived.

Factory Floor might be known for their life-changing gigs, but their album proves that, in the studio, they also have the ability to induce shivers, body jerking and a rush of blood throughout your entire body.

It's in these moments--when he's paying attention to melody and songwriting--that Kiss Land demonstrates plenty of promise and tentative steps in the right direction.

The textured, varied sonic flourishes provide a sumptuous foundation for Omar's malleable voice to articulate the album's lyrical theme of embracing maturity and responsibility, preserving and reaffirming his impressive artistic relevance.

These experiments help keep the record sounding fresh, but the best moments come when Case stays within her wheelhouse and swings away.

Even through the heavier topics of illness and recovery, a melodic sense of dance carries the message, but what delivers the punch is Hanna's voice.

Legend is content to adopt a croonerific sound that doesn't challenge existing soul genre parameters in the least. That's fine, in theory, but rather yawn-worthy in execution.

Pushin' Against The Stone is a rare case when a young artist's natural instincts are spot-on. As both a singer and songwriter, June is a major talent with unlimited potential.

The showmanship and pomp of The Silver Gymnasium render youthful curiosity and naivety with dazzling honesty.

While Buckner's songs can be awe-inspiring (just ask Bon Iver's Justin Vernon), Surrounded, like its most recent predecessors, requires closer attention in order to fully appreciate.

It's the danger that comes from walking that fine line [the nexus of sonic experimentation and pop hooks] that makes the album such a welcome return.

Songs like "How Will I Get Through This One," "If You Ever Have Forever In Mind" and "I'm Pretty Sure That's What's Killing Me" are good, but not in a "tour de force, let's re-introduce the band to a whole new generation with some familiar, but next level stuff"-type of way.

John Wizards is a sonic journey both geographically and temporally, without being an exercise in musical channel surfing.

Though Khan has grown with the responsibilities of adulthood, he has obviously retained the ability to produce fun, high energy tunes with ease.

Lemay has reinvented Gorguts while showcasing their roots, as the immensely anticipated Colored Sands exceeds expectations and proves to be every bit worth the wait.

Needless to say, Big Sean may not have solidified his position in the rap hall of fame, but is certainly in the process of paving his way.

Leery fans will find the uninspired drumming to be the least of their problems, as it fits perfectly with a far more glaring issue: uninspired songwriting.

Almost every song is worthy of inclusion.

For all its vulgarity, predictability, repetitiveness and reckless musings on drugs, Juicy J's trippy music succeeds because of its spirit. His new album (his first since trading 666 for Taylor Gang) bottles that infectious energy, that reckless intensity, that raw hustler's "kapow!" and delivers it in an accessible package.

Electric Slave makes a strong case that Lewis is ready to go toe-to-toe with the Dan Auerbachs of the world, and easily has what it takes to go the distance.

This is the 11th album from the now 50-year-old, and may just be his best.

Engravings sees the artist employing fractured choral voices, militant drums, swirling guitars and the occasional harpsichord (notably on album standout "The Weight of Gold") to create a tapestry of sounds both experimental and organic.

While there are some standout cuts--most notably the Avalanches' Afro remake of "I'm a Cuckoo"--much of The Third Eye Centre should have remained on the cutting room floor.

Her drive and influences are there, but, moving forward, the search for hooks may remain her greatest challenge.

Necrocracy is as perfect as we're all hoping Carcass will be when they bring their good ship back for another gruesome go at it.

King Krule is an artist moving a mile a minute, and 6 Feet Beneath the Moon is just the beginning of what will be an amazing career to follow.

This is a return to form for Franz Ferdinand; they've indeed retrieved the right thoughts and words to create a dynamic new set of pop hits in-the-making.

Tend No Wounds sounds very much like a transitional record, one foot firmly planted in the tar pit of their sludge roots while the other steps forward into a more punk-influenced, high-energy hard rock mode, and this liminality leads to moments of awkwardness.