Exquisite. ... Rifles & Rosary Beads offers not only a document of atrocity and neglect, but a chance for redemption and healing.

Field Music have created a truly immersive record with Open Here, one that is welcoming, conversational and oh-so-necessary for a world experiencing daily fear and paranoia.

Save somewhat of a flat end, Down Below is a great metal album that blends multiple genres into a perfectly idiosyncratic sound that should bring Tribulation much success and attention.

Folks hoping for a repeat of Rabit's 2015 pseudo-grime offering Communion will certainly be disappointed here; open-minded listeners with a penchant for the darker side of experimental dance music will find their thirst for evil slaked.

Freedom's Goblin cuts open Segall's brain and lets it all ooze out. Serve yourself up a spoonful of all that melodic goo, and enjoy.

What was once something to blast on your bedroom speakers is now crying out for a live performance with a nine-piece band, which, if nothing else, shows a maturity in sound.

It's an impressive compilation of provocatively disparate ideas, but taken in in its intended order, there's a mesmerizing continuity to it all.

It's a mature and refined album woven deeply enough into pop's historical fabric to please connoisseurs, but with enough lightness and fun for casual appeal as well.

The Age of Absurdity is tacky, unoriginal, occasionally annoying and altogether not good. Most of the blame falls squarely on vocalist Neil Starr, whose lyrics stumble through sleaze rock clichés that were already dated in 1988.

There are some truly enjoyable moments on Calexico's latest--but they're vastly overshadowed by at turns annoying or just boring tracks, bogged down in an overly long record.

Mother finds Xylouris White quietly questioning musical structure and expectations. They remain trailblazing outliers with a supernatural power to express themselves as one and, with a warmth and welcoming generosity of spirit, invite listeners to step up and out of their comfort zones.

The lyrics are murky--there are none of the plainspoken tales of domesticity that Lennox used to specialize in--but the burbling soundscapes and soaring pop melodies are gorgeous.

This is the work of ravenous, restless musicians who refuse to be pigeonholed.

Snares Like a Haircut might be their most accessible and uplifting record yet; released in a time of social decay, it's a statement that rings loud and clear.

Too often the band fall prey to the conventions of the music from which they're borrowing.

Unlike her Polaris Prize-winning 2015 record Power in the Blood, there are no love songs; Medicine Songs is unflinching in its focus.

I Like Fun remains a strong, if not exactly noteworthy album, simply because TMBG are a strong band that can pull off anything at this point, and although newcomers looking for examples of their late-career excellence should probably start with recent gems like Glean or Nanobots, longtime fans will find much to like here, crunchy guitars and all.

Recorded in France and produced by Frames guitarist David Odlum, this is expertly crafted and lushly arranged folk-rock, with some pretty fabulous horns.

Maine's ability to draw out peculiar emotions and thoughtfully pairing them with euphoric sounds in a deliberate way makes The House a natural and more than satisfying sequel to Pool.

Unfortunately, The Official Body remains confined to rudimentary rock arrangements and rigid structures. It doesn't reconcile these contradictions until its final three tracks, which makes for restless, if brief, listening in its middle entries.

Cogent and catchy all at once, I can feel you creep into my private life shows that, even amid doubt and distress, Tune-Yards can find a new way forward.

Despite this influx of collaborative talent, things sound largely the same on this album, but with a project as reliable as the Go! Team, that's not necessarily a bad thing.

Lyrically and sonically, Ruins helps First Aid Kit gives listeners a mature, realized and often heartbreaking version of this young band's oeuvre.

Overall, No Cross No Crown is for diehard fans; those who want to hear something new will be disappointed.

This album melds its many ideas into some larger parts, with just nine songs clocking in at roughly 40 minutes. But true to form, POST- is still all sorts of bonkers in mostly the right ways.

Despite occasionally overlong runtimes, Rainbow Mirror is an album that encourages introspection and submerging oneself in their unconscious. It's a monument that both inspires and terrifies.

Full Closure and No Details feels more like a journey to the closure Cohen seeks through her songwriting than an answer itself — and what an important and journey it is.

Through fragmentation, each track finds cohesion, making deconstruction — the silences, gaps, twisted repetitions, abrupt cuts, looped production, harried noise--the story itself.