This is a good effort from these two but could've been tighter. It's best when Lil Baby raps about his emotions, where the two once were and when Gunna brags about how far they've come since. But it's clear, they've still got farther to go.

While Bunny is fairly consistent across the board, there isn't much that sticks out here.

Jasssbusters' steady output of blue-tinted melodies make it an exceedingly easy listening experience.

ATW is perplexing in its ability to both continue many of All Them Witches' songwriting motifs while often (and sometimes simultaneously) subverting them altogether.

In its quiet drawl, Out of Touch is a perfect record for joining Kalevi on that beach: full of the foggy calm of letting the imagination run its own course.

At the core of Bottle It In, the 38-year-old husband and father of two offers his family the comforting illusion of his presence, a chance to hear his voice, and a reminder that they're with him, wherever he may be.

Goodman and Bevan's take does an adequate job of representing the variety that has spanned over the Fabriclive mix series, but unfortunately manifests as being somewhat unkempt.

Joe Strummer 001 is bursting with endearing, heartbreakingly excellent stories and songs about and by a guy with an endless passion to create and affect change. Here's hoping this series continues.

WAX is filled to the brim with equal parts sing-along sensibility and raspy vibrato--with a style and sound akin to late '90s Chantal Kreviazuk.

The Wake continues Voivod's musical legacy with a pulse-pounding album that stands alongside their classics.

All filtered through Davidson's signature brand of deadpan humour, this is a hilarious, challenging dance floor record, and you're going to have to take it seriously.

At his best, he updates the Allman Brothers, splicing in just enough of the Bakersfield sound, without sounding nostalgic or dated.

Their best album to date, Fall Into the Sun is the sound of a band rebuilding itself one song at a time and becoming that much stronger in the process.

High On Fire have been on a hot streak with their records in recent years, but their latest is far and above the strongest release they've put out to date. Their blend of thrash, tribal-sounding sludge and doom metal has fully flourished, but to see the band still stepping up their game this far into their career is a testament to the lasting legacy they've left in their wake.

abysskiss continues to keep Lenker's songwriting hot streak going--more than enough to tide us over until the next Big Thief record.

What makes this nine-track/45-minute LP so fascinating is just how many ideas Houck injects into it, throwing layers of piano, wordless backing vocals and ambient effects into the mix.

Masana Temples is a comparatively accessible release from Kikagaku Moyo, despite rooting itself in a reality outside of our own. The ease with which these tracks can be entered leaves one wondering whether this utopian vision--for all its gestures at peace--could be closer to us than we thought.

Fucked Up's latest pushes the boundaries of their sound far beyond what you would expect. Dose Your Dreams is by far the most over-the-top album the band have ever created and shows they aren't satisfied with pumping out subpar material or rehashing what they've done.

This is Logic at his best: making music that makes him happy. His comfort zone is infectious. If YSIV doesn't sell you on Logic, nothing will.

On a song-by-song basis, Sanchez leans into human moments to ground his bigger ideas in connection or struggle. That helps keep the more galactic concepts well-grounded.

Relationships with women are at the forefront of Tha Carter V, including a desperate cry for help from his mother on "I Love You Dwayne," which leads into the sorrowful "Don't Cry," featuring a chorus from the late XXXTENTACION. ... Despite the revelations, the album is not without its expected bangers.

With Autobiography, Jlin shows she might be incapable of creating anything less than brilliant.

After being out of the spotlight for years, Marshall hasn't lost her style. Producing Wanderer entirely on her own, you get the sense that she has ventured into new territory. Artists like Cat Power have all been wanderers at some point, but she is the one in control here.

For all these hits, there are more than a few tracks that slide by without making an impression. While Lauber's work often transcends the sum of its competent if unremarkable parts, things can sound a bit rote and unimaginative when they don't.

Digital Garbage is as blunt as it is thoughtful and the songs here truly rip at a time when some seem keen to let civility and common sense rest in peace.

Parasol Peak is a remarkable project and an auditory feat; you're unlikely to hear a more ambitious album this year.

These 10 dark soundtracks fail to chart new territory. They're not bad; they're just not challenging or frankly all that interesting.

If Obey contains a fatal flaw, it's that it can't quite balance these old hallmarks with its new flourishes in a way that feels totally coherent. But like any work of capable termite art, it still manages to set a particular mood that digs its way deep under the skin.