Although the band manage to avoid the self-indulgence that often comes with ability and ambition, Autotheism does occasionally lose steam.

If the record's volume number wasn't enough to suggest that Lil Wayne's long-running Dedication mixtape series was getting a little stale, a few short verses into this repetitive and lyrically lazy affair should definitely set those thoughts in motion.

O.N.I.F.C. starts off with "Intro," a Cardo and Sledgren joint that sums up the production: 808 drums, skittering hi-hats and saccharine melodies, although the atmosphere is meaner than Rolling Papers.

There are some good songs on Jesus Piece, but they're decent in spite of the Game, not because of him.

It's unfortunate that Vicious Lies has come out after everyone has finished compiling their year-end lists, but it's already a contender for best record of 2013.

While a slight step forward, Nocturne, like all of Wild Nothing's output to date, still inhales all of its influences--the women, the hurt, the favourite records stuck on late night repeat--and exhales them in to a beautiful, swirling, ethereal cloud.

Other Worlds proves Bergsman has a good thing going with these inspirational voyages, leaving the listener besotted and desperate to know just where she'll head next.

Fay has lost none of his ability to capture the wonder of life in his words.

God of the Serengeti should impress fans and may even bring back some of those who miss the Psycho-Social days.

The majority of the record does take the tortoise's path to victory and proves that with this kind of music, it's really not a race at all, but a fight.

Northern Shore explores terrain that's simultaneously familiar and bracingly fresh; it's a gem.

This is easily one of their best albums, which is no small feat six albums into such an illustrious career.

It's not often to encounter music this conceptually sophisticated and well executed that also, in its most secret depths, simply hates you.

It's more fun than 2010's Darkly, Darkly, Venus Aversa, but with a slightly less lurid and lingering "oomph" than classic Cradle of Filth.

With this hugely energetic disc, consisting of eight tunes in 32 minutes, Early Graves have proven that they can survive a horrible catastrophe and continue to make great music.

Ocean Roar proves to be a cinematic experience that's good more often than not.

There is a catchiness to the song structures that occasionally brushes against an industrial influence.

Lovelessness is an ugly, abject work that challenges the listener to accept both unhappiness and disgust, conveyed with power, intelligence and artfulness.

While the mix is peppered with samples from Butler's yoga guru, Parahamansa Yogananda, aiming for a spiritual vibe, this set is really one big party.

Grace/Confusion could have been a great 20-minute EP. Instead, it's a listless 40 minutes that works best as background music.

Scott Walker is one of the true geniuses of modern music and the treasures are as rich as ever for those prepared to go the distance.

Although it may not be essential listening for Mogwai fans, A Wrenched Virile Lore's recontextualized tracks certainly allow for greater appreciation of one of the band's best albums in years.

An immersive and atmospheric sonic experience, one made all the better by the group's much-improved songwriting chops.

Bold and robust, these eight tracks are sure to engage any fan of the label's prior output.

On their debut, they don't seek to out-pummel other contemporary hashers with speed or heaviness; rather it's on the golden fields of mood and groove where they excel.

The mixed bag nature of Don't Be Scared that is its downfall: a lack of consistency leads to the album sounding more like a DJ set than a cohesive record.

This Working Girl's Guitar is in top form here.

Ohio native sons MHz (Copywrite, the late Camu Tao, Tage Future, Jakki Da Motamouth and producer RJD2) have finally released their long-overdue debut album, MHz Legacy, and it doesn't disappoint.