It's a gritty, soulful sound that holds The Solution together, seemingly aspiring to be nothing more than "Boot Camp meets Little Brother": familiar and stress-free for an audience seeking a vintage feel in their hip-hop.

It's when producer the Alchemist trims and arranges that Bronson becomes a salable bouquet.

This might not be the golden, triumphant comeback Aguilera had hoped for, but it's pretty close and, let's face it, it's better than most Top 40 music right now.

Is it less than the sum of its parts? Perhaps. However, it is an ambitious and interesting album that not only plugs the gap nicely between Tim Hecker and Oneohtrix Point Never albums but signals interesting things to come from Lopatin's SSTUDIOS series.

The Santa Barbarite has focused even more on textured, hazy compositions, allowing much of the album to move at an ebb-and-flow pace.

From the Vaults is a collection of b-sides presented and packaged as a full-blown studio release, and it's worth the effort.

Using the album as a full-length thesis on the blending of Berlin and Manchester sounds causes Living With Ghosts to feel rather analogous and tedious, at times.

At times emotive and playful, Broderick has created a cohesive album of delicate, Russell-esque melodies with enough wonkiness, experimentation and spoken word to make a unique, personal and engaging release of happy accidents.

The production is on point and the rhyme patterns are above average, but there's a distinct lack of cohesion.

It's an odd album, but a good one, which will make you smile at its slightly off-kilter weirdness while soothing your weary bones.

Levi hasn't exactly grown with each and every album, and his wheel spinning has gotten the better of him again, because, apart from a couple of catchy tunes, Medicine isn't very exciting.

18 Months has all the makings of a smash hit, but if you're looking for substance, you're better off looking elsewhere.

It may take a while before 'Allelujah! Don't Bend! Ascend! is accepted amongst the ranks of their earlier work, if that ever happens, but ultimately, this is the same epic, mystifying GY!BE as always.

It's not game changing, but Saigon's fanbase will love it, and sometimes it's better to stick with what you know.

These are soundscapes rather than tracks.

There are few out there above what he has achieved with Lonerism.

NYC's Roc Marciano follows up his 2010 critically celebrated solo debut, Marcberg, with a sequel nonpareil in its originality and craftsmanship.

Lux might not be breaking new ground, but given the beauty and resonance inherent in Eno's music when he sticks with what he does well--namely, gorgeous, slow moving ambience with plenty of breathing space and emotional impact--revisiting familiar turf is just fine.

By focusing on the scars that aren't always visible on the surface, Crystal Castles have delivered their most consistent album yet.

Freed from the confines of their regular gigs, Morby and Ramone go for broke, creating a record with hooks that just won't quit.

Smith's music resonates with the suffering and the dreams of a better life that embodied the decade of 1954 to 1964 that is the subject of this powerful compendium of compositions.

What sets Dagdrøm apart from their other work is just how deep this rabbit hole goes and how menacing the sounds echoing up from its depths are.

While not as artful as one would like, it's a strong effort and a step in the right direction.

Fe3O4 ― Magnetite will not come as a huge surprise sonically to those familiar with his back catalogue. That said, it is nonetheless sufficiently perplexing, abstract and rich to offer much incentive to return to it for any listener willing to be absorbed into his forbidding sonic universe.

Just as prolific in death as they were in life (perhaps even more so), with Temporal, Isis continue to haunt their career like fretful ghosts.

Luxury Problems is a highly impressive full-length album of dark, atmospheric techno.

Smalhans is an enjoyable listen, though it's creatively limited when compared to Lindstrøm's previous work, not providing much more to the listener than a feel-good album.

The music is troubling and absorbing, a fascinating progression of textures and tones, telling the lugubrious narrative through remarkably tactile sound.