The album is so riven by corporate overtures that it bears no resemblance to its prequel.

Automata I cherry-picks from some of the best elements of previous Between the Buried and Me records, while injecting their masterful sense of musicianship and structure.

This is Of Montreal's 15th LP (to say nothing of their many EPs and compilations), and it's neither their most sonically confrontational work, nor their most viscerally emotional. It's pleasant and poppy, but if you don't get around to listening, no sweat.

Al Jourgensen's signature vocal bark remains unchanged, but things have slowed down musically. Fans of Ministry's lightning-fast thrash moments will be disappointed by the record's grinding pace.

Tory Lanez manages to inject Memories Don't Die with a few quality tracks, but overall it misses the mark on classic appeal.

Ultimately, All That Must Be is a glowing album that plots the psychological journey of its creator through the often un-navigable waters of change. Yet somewhere in the Bermuda Triangle of real life, Fitzgerald found his strongest compass.

This is a fluid expression of both jarring and accessible concepts that hit you square in the jaw. And like the two previous albums, these Scots still sound like nothing else out there.

Although Rolo Tomassi's four previous records are phenomenal in their own right, this album emits a more structured sense of chaos than before. The days of the band's video game-like synth tones living amongst hardcore mayhem are long gone, replaced with a more developed sound and sophisticated energy.

Firepower is exactly what you would expect of Priest almost 50 years into their career. It's well-produced, expertly executed and understandably quotidian.

Despite the dream team behind it, American Utopia has much to like but little to love, perhaps its most apt, if unintended, critique of the country itself.

Moving forward from that meandering pace [on 2016's Thought Rock Fish Scale], I'm Bad Now finds Nap Eyes picking up their feet a bit, without sacrificing the subtle psychedelia that makes their songs so enticing.

On Black Times, Seun Kuti continues to be one of the most important voices in music, by simply reinforcing to us what we already know.

It's clear that Jonathan Wilson's naked ambition has reached a zenith, for better and for worse, with Rare Birds.

The highs on How to Socialise are meteoric while the relative lows are kept afloat by its members' musical prowess and McDonald's ability to wring tension and drama from personal adversity. Far from the stand-offish listen its sarcastic title suggests, expect the album to win Camp Cope plenty of new friends and admirers alike.

Aside from her moving rendition of little-known folk artist Zoe Mulford's "The President Sang Amazing Grace," Baez chooses songs that are close to her heart and represent her long journey, political struggles and ideals succinctly.

File the album in your new classical section, primarily because of Simon's world-class technique. But given the instrumentation, it could just as easily be marketed as an ambient or jazz album. It would be no less great a success.

All Nerve remains stuck firmly in a box of the band's own making, both to their benefit (this is most definitely version of the Breeders fans know and love) and detriment (a couple songs are kind of boring).

While Suuns' albums tend to reluctantly hold your hand while guiding you through their universe, Felt reaches out and pulls you in. It may even make you dance.

It's an intricate record, one filled with peaks and valleys, high points and low. It gets a little messy at times, but it finds beauty in it all.

At their best, the Men imbued borrowed styles with urgency and fervor. Drift attempts to conjure the same spirit, but it's too divided and derivative to be vital.

Le Kov feels more commanding than 2014's Y Dydd Olaf, where Gwenno revised an obscure Welsh sci-fi novel into a concept album of '80s-tinged ice pop (sung mostly in Welsh; only its closing track was in Cornish). Here, there's a fuller array of sounds at play, and its vision feels more confidently achieved.

Thorn frames Record's songs within her experiences as a woman and mother, allowing for an immediacy to the music, which traces her first brush with guitar music through to a simple desire to enjoy dancing on a night out. ... Tracey Thorn possesses a lyrical and melodic intuition that shines.

Moaning establish their sound while dodging redundancy on their debut.

Everything works here, in its own unique way.

While it's a huge pleasure to hear him pick up where he left off, this isn't the overwhelmingly triumphal return one might have hoped for.

Black Milk has renewed his sound, proven his skill in lyricism, and displayed his depth as an artist who is proudly using his platform to discuss political issues.

Even when the band vamps for too long on "Home Alone" and their "Like a Rolling Stone" cover, the large roster of guests and collaborators rarely feels unwieldy. Instead, A Productive Cough draws strength from its collective spirit.

Superorganism easily meets and exceeds the hype surrounding this talented group.