It's a reclamation of a history that often doesn't tells stories about black cowboys or black musical innovations. However, it is a recollection of what inspires Solange, and more importantly, how she wants to inspire the next generation from Houston.

Though it may seem as though she's yet to fully embrace her uniqueness in mainstream spaces, there are plenty of moments on Sucker Punch that suggest Sigrid is on her way.

Asmara, Gaika, Bon, Baby Caramelle and Nunu all make contributions to the disc, as do rappers K-$ and K-Rizz. Too often, they're at cross-purposes. The album is so lacking in continuity that it fails to sustain either a groove or the listener's attention.

Ultimately, Gunna sticks to his guns and delivers a solid effort that lives up to all the hype. He may not be the most innovative MC, but he continues to craft great bodies of work, which is what will cement his career, at the end of the day.

Few would mistake White Stuff for golden age Royal Trux--the vocals are more subdued, the songwriting is more straightforward, and anyone looking for something as confrontational as "The Banana Question" won't find it here. But hearing Hagerty and Herrema stay true to their ethos after 30-plus years offers its own satisfactions. Consider the comeback complete.

The crystalline vocals and dazzling harmonies that TEEN have become known for are replete throughout, and ultimately there are more great than good songs, with the best coming in the latter half of the record.

Weezer's latest is an utterly skippable collection that'd be entirely unremarkable if not for the fact it was released by Weezer.

It's a globetrotting affair: the wah-wah brass and dhol drums of "Mitote" make for a savoury blend, the Indigenous chants and percussion reverberate in title track "All My Relations," the mid-'70s Stevie Wonder/Herbie Hancock-styled funk of "Mescalero" hits the spiritual spot, while the smooth sax of "Seyewailo" offer up a sonic take on bliss.

This Land is a triumph for Clark and a quantum leap forward for the blues.

The level of craft involved — songwriting, musicality, performative sense — belies his relative anonymity within the greater music continuum. You Will Not Die is both an affirmation and a promise.

Sure, some of the dark and downtempo beats can begin to sound same-y by the time you're through. And Offset certainly hasn't attained the lyrical brilliance of JAY-Z on 4:44, or any of the other elder rapper's releases for that matter. Nevertheless, Offset's level of growth and candour on Father of 4 is that of an MC making leaps and bounds, both in his music and his personal life.

New voices and ideas fading in and out like ghosts, it's an ambitious second act that meaningfully departs from the proven formula that earned the project early buzz, all to invigorating effect.

Dream Theater are by no means breaking any new ground on Distance Over Time. The album pulls from the same bag of tricks as the rest of their discography. What Distance Over Time does offer, however, is that "it" factor you can't quite put your finger on. Many lifelong fans claim the band lost their mojo the day founding member Mike Portnoy left the band. If that's the case, they seem to have found it on this release.

The most sophisticated and pristinely produced versions of their signature sound to date. Whether you're a new or old listener to Teeth of the Sea, Wraith will be a fresh experience.

Budding doubt punctures even the first song, "You didn't love me anyway"s filling its final minute. The rest of the album is spent in the reality of the aftermath: that endings don't actually end, they stick, no matter how far Soldevila tries to fling them.

This young Australian singer-songwriter made a real mark with her 2016 debut, Don't Let The Kids Win, and subsequent international touring, and this compelling album sets the bar higher.

It's surprising how solitary The Route to the Harmonium comes off--save for a few busy, spoken word tracks that seem to stick out like a sore thumb. But The Route to the Harmonium seems to be James Yorkston's attempt to precisely stick out amongst the crowded field of folksy singer songwriters, and he wears it (on his sleeve) very well.

Instrumentally, this record doesn't do anything revelatory that distinguishes it from their other releases. However, in maintaining their usual glitchy post-punk instrumentals with this clearer lyrical concept, the duo emphasize the emptiness of the automated economy.

Wistful and introverted themes abut against a handful of more fraught moments, where the memories turn from monochromatic to colourful clusters, like autumnal avalanches of melody.

Without something steady to anchor it all, Hello Happiness sound less like an album and more like a compilation of stand-alones.

Summing up an entire musical movement in a single reissue is no easy feat--even if it is three records long. But as a package, Kankyō Ongaku gets incredibly close, shining a brilliant light on one of Japan's most fascinating--yet hidden--musical periods.

There are quick movements at play, but the locomotion is sort of listless.

His songwriting is excellent throughout as well, with structured but never repetitive forms that are always leading to some worthwhile payoff. Cast nails both style and substance; an exciting debut.

It all adds up to a deeply felt, personal album that, like his previous work, should serve as the perfect soundtrack to many a late-night contemplation hour.

Even though their unique music production always nudges musical boundaries, Can't Say I Ain't Country attempts to knock down musical barriers by affixing a fresh glow on past country music trends.

Having rediscovered his split-lipped humour, and working with simple, yet propulsive arrangements, this is a league leader back in game shape. ... It's a master class in country songwriting, a series of lessons about how to work the expected tropes into what feel like as-yet-undiscovered shapes.

Across the record's 12 tracks, Lavigne tries on a variety of styles, inhabiting each with ease, but rarely manages to rise above and make the sound her own.

Triage is worthwhile in its own right, but it falls just short.