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.

If you're looking for a de facto greatest hits of library music, Unusual Sounds is here to provide just that.

Given the breadth of Hood's output and influence, hardcore fans may have wanted a more encompassing and historical selection but there's enough here to satisfy both newcomers and devotees.

The sheer breadth of styles Ishibashi incorporates might well throw the average listener for a loop, but if an exceptional talent employing any tools she sees fit to make the sounds she hears in her head excites you, The Dream My Bones Dreams contains a wealth of sonic treats worth exploring.

Jeff Tweedy clearly spent more time than usual talking to himself of late, and the expressive results are strong. His memory went jogging and kicked up enough dust that he had to put it down on paper and on tape, and it all feels like the most direct pathway into his complex psyche that he's ever offered.

At only 22-years-old, Cara doesn't feel gimicky, nor like an over-produced product of a record label. She's raw and pure, an obvious example of an artist who will only continue to build momentum.

Overall though, it's a solid effort in a genre that's hard to nail. Worth repeating all season!

While both rappers have met their match in terms of lyrical prowess and old-school ethos, the cavernous difference in their tones (Gibbs, deep and rough like a stormy sea; Curren$y, squeaky and smooth) keeps Fetti dynamic and wards of redundancy. Better still, however, are the moments when these rappers elevate the proceedings beyond street side cypher-style spitting.

It's their willingness to fall flat on their face while swinging for the fences that separates them from the focus-grouped inoffensiveness of their pop peers. The messiness of the whole thing seems to be the point, part of its audacity. In most artists' hands, that would be a recipe for creative bloat. Yet more than ever before the 1975 prove themselves masters of the form.

Perhaps its biggest fault is being a good album that's just not as strong as the other two in .Paak's "Golden State" series.