While previous instalments Muscle Up and School Daze were comprised of early, experimental college compositions, Afternooners is more focused and assured.

Tracks like the rambling "Old Things," the hoedown-lite "Bluebird" and perhaps the most precious song about outlaw life, "Private Property," shoot for middle-of-the-road appreciation, sucking out any grit from the recording.

His latest LP, the 13-song Pressure, is a quality collection of songs that core fans will undoubtedly embrace.

Like the 6 God's "playlist," this mixtape has no higher purpose than to let its creators run wild, showcasing their prodigious talents with frequent moments of pop brilliance.

We can say that the real Slim Shady does show up and prove himself on a handful of Revival's songs, but many of the more 'noteworthy' moments are buried under a mountain of contradictions and cringe-worthy attempts at shock value.

As anarchic as it may seem on first listen, No_One Every Really Dies smoothes out a little more with each play. It's a strong comeback for the daring trio.

Outside of nostalgia, though, much of the work still feels necessary.

All Together Now is a surprisingly and satisfyingly listenable collection of compositions that weren't necessarily recorded for this type of public consumption.

Despite the EP's virtues, that's a lot of excess fluff for a collection with just five tracks.

Material Control is an invigorating yet familiar release from the band and by far their angriest and densest music to date.

Many avant-garde instrumental albums exist to strictly craft a mood, and Tom Rogerson and Brian Eno somehow seem to merge these moods, sounds and themes together effortlessly and radiantly on Finding Shore.

Radio Silence is a jazzy, soulful call to action, a think-piece and a middle-finger to the trolls who claim he fell off; you can still find his name "in the middle of equality."

Even though Post Self isn't exactly what was expected, it's a masterful release from two musicians who seem to be incapable of creating anything short of exquisite.

Though he enthusiastically pushes the boundaries of his sound and image on his most eclectic album yet, Miguel also takes care to make each of its tracks insatiably catchy and breezily fun.

Weighing of the Heart plays out as the soundtrack to a forgotten '90s B movie; novel, but not great.

There is self-deprecation and honesty to In an Open Field that combines with musical prowess to form a thoroughly enjoyable, thoughtful record. Few writers possess the melodic ability and communicative skill that Nicholas Krgovich does. He remains one of the finest pop songwriters along the coast.

While musically, the tracks can sometimes bleed into each other, sounding perhaps too similar, this album is meant to be consumed in order as a whole. Birdie sets a solid foundation for Slaughter Beach, Dog's future.

With the cohesive and captivating Morning After, dvsn have used soothing vocals and layered beats to paint a sonic portrait of modern R&B.

Experience neither recaptures past glories nor forges a new way forward, and while it's better than its predecessor, it nevertheless captures the sound of a legacy rock band stuck in neutral.

The more transparent mix dovetails nicely with the album's themes.

Utopia feels like both a journey and a collection of statements that define and affirm who Björk is.

At first listen, the album is scattered and slightly exhausting; it takes several attempts to make sense of everything you're hearing, and some listeners may run out of the patience required to dissect it all. Those with a longer attention span, though, will find SYRE a very promising debut that offers new delight with every play.

Soul of a Woman is a more than worthy farewell by one of the hardest working and talented women show business has ever known.

Although many songs lack the fire and passion that defined his earlier work, with the exception of the race-relation lyrical content of "What's My Name?" and the growling "Snake Behind Glass," Four Lost Souls is simply unlike anything else in Jon Langford's sprawling discography.

This is the kind of odd, idiosyncratic record that makes collaboration so compelling; whether or not it appeals to you, there's absolutely no way you've heard a metal release quite like it this year.

It's a delicate, cautious demonstration, but Mechanics of Dominion is a bold, gripping and brilliantly nuanced addition to Esmerine's gorgeous catalogue, swelling with hope and brimming with energy.

The pacing of Rest and the length of its songs make it a grower of an album that, over time, ensconces listeners in the sonic layers and personal lyricism of Gainsbourg.

If All I Was Was Black is another late-career winner from Staples, an album that perfectly captures her gentle, loving and elegant way of making a political statement without sacrificing the passion she's built her career upon.