Rival Sons are a great band with a great sound; the only thing they're guilty of is doing what they do really well, but then exhausting it over and over again.

The best parts of the album, though, are the moments where it doesn't sound exactly like anything either artist has released before (songs like "My City," and closing pair "Big Black Heart" and "Dominos"), yet still shows two songwriters at the height of their talents.

Unfortunately, while amo has moments of absolute brilliance, highlighted by "Nihilist Blues," "Ouch" and "Fresh Bruises," it feels like BMTH weren't ready to fully commit to either sound and, as a result, we're left with a mixed bag of tracks that offers a little something for everyone but never quite enough.

Yet despite sounding like an album that could have just as easily come out in 2009 as 2019, it's a testament to the timelessness of Power Chords' sound rather than an indication of its tedium.

Merton shows great confidence in her abilities as an artist across her debut record, without losing her sense of fun.

With every moment on Internationally Unknown I find odd, I ask myself "was that intentional?" Because I usually have no idea. ... Internationally Unknown is fun and probably not intended to be examined too far past the surface.

Tyler sounds like he's barely breaking a sweat. It's the sound of confidence in one's abilities as an artist, one who embraces their restlessness and creativity while sounding like he's barely breaking a sweat.

It's not that Sneaks' music doesn't take itself seriously, but each song is so well-crafted that it lacks the self-consciousness that could weigh a project like Highway Hypnosis down.

A tight 12 tracks that show the artist at his most approachable, romantic and optimistic.

Remind Me Tomorrow is not only a reminder of the power of love but also features some of Van Etten's finest work to date.

Rogers rises to the occasion, making herself and her mixture of emotions the anchor of songs whose music moves at an unending pace.

The result doesn't sound bad; at worst, a few of the tracks are forgettable. But beneath the carefully roughed-up veneer, there's some depth and nuance missing.

Their third full-length, Scholars, reflects the modernization their latest instruments have undergone (Arx allows them to trigger percussion, change instrument effects, and control vocal harmonies with the push of an arcade button), keeping their wholly distinct sound while embracing digital and synth-based instrumentation.

They continue to look forward and create music that feels unlike anything else out there. This one is no exception: it's the perfect antidote for these bleak, modern times.

An unexpectedly celebratory affair.

The brevity and strong melodicism of these songs is of course reminiscent of Field Music's work, yet You Tell Me feels like both an extension of the eldest Brewis brother's songwriting and an assertion of Hayes' voice.

This group of songs are vivid in colour, creating a warmth, unlike their contemporaries who cling to the depressing melodrama of these decades. By keeping it light, listeners will might find a second listen through all the more appealing.

Parallel Universe Blues is a dreamy, laidback record made for easy listening. It's a great album with a step up in its production. It would be more interesting for Quever to do something a little bit different this time around, but staying true to your roots isn't a bad thing.

While it's not quite a classic like his seminal late '80s to early '90s run, Everythang's Corrupt is a return to form, especially after Cube's rudimentary 2000s releases like Laugh Now, Cry Later and I Am the West. It's heartening to hear an icon with nothing left to prove rap with the hunger of a youngster so far into his career.

Throne's power is in its delivery, as Leigh's brazen siren call cleverly commingles with a deft pedal steel wizardry. The music is uniquely alluring. Its woozy, uncanny nature enhances its charm, making Throne some of the artist's best work thus far.

The mix is so unique that it, plus the running time, might drive casual listeners away. But if you're that sort of person who likes Mayhem and Mavis Staples, this is for you.

There's a little less bravado for its own sake; instead, we are offered reflections on the differences in the man's life since his last release from jail. He's married, off of drugs and, as the album's cover shows, ripped now.

This debut is a more than pleasant listen. Here's hoping a sophomore release won't take a decade to surface.

DiCaprio 2 exemplifies what the ideal student of the game sounds like--someone who's conscious of how a hook presents itself, how to control their delivery and how to diversify their lyrical bonds.

Throughout the record, Romano truly embraces mysticism in his lyrics, and throws the idea of form and structure out to sea. It can be overwrought at times, as Romano stretches the seams of certain songs with oft impenetrable lyrics and perhaps a surplus of instrumentation.

At 70, Melnyk is producing some of the most physically demanding work of his career. And he's doing so in front of a bigger audience than he's ever enjoyed. This is a recording of a composer/performer very much at the top of his game.

As much as Championships is filled with nonchalant club/street anthems, it's also about healing. Tempered by both celebration and struggle, Championships shows the duality of Mill's world--one that still reflects on the past, but has made leaps towards his future--and that's perhaps the greatest win of them all.

Although a very strong record for what it is, Some Rap Songs lacks the emotional power of the two albums that preceded it, particularly Doris, which charted Earl's transition back to civilian life from a Samoan wilderness camp.