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.

Nihilistic chugging riffs permeate the album from beginning to end, thundering away and drilling a particular tempo into your head. But this repetition isn't served by the sort of groove that previously was a keystone to Electric Wizard's sound.

1989 fans will breathe a sigh of relief when "I Did Something Bad" kicks in, though, which starts off a string of shiny pop songs that not only feel like a more natural progression from the last album, but improve upon each listen in that sneaky way Swift songs tend to do. ... The moments on Reputation that Swift stans appreciate the most are likely the ones casual listeners will be quickest to dismiss.

Arpo forges lush soundscapes by drawing on ASMR techniques, layering textures over the arpeggiated hooks that drive the record. A saxophone player himself, Call Super subtly peppers hazy woodwind tones throughout, elevating the record's otherwise eclectic collage of electronic soundscapes.

Interiors can proudly call itself a rightful successor to the post-hardcore classics status of their first two albums.

Here, she moves through songs about love and life that, whether because of the cavernous, sometimes tinny production or her timeless songwriting style (and often, both), feel channelled from some ghostly past where musical arrangement was simpler but emotions weren't.

The trio's intent is crystal clear here: make hypnotic murder rap that evokes a screwface and head-nod. If horror movies aren't your thing, though, Without Warning might not be the rap project for you.

On his third LP, James Holden establishes a sound wholly his own, allowing The Animal Spirits' gorgeous, absorbing and wonderfully unkempt mix of psych, jazz, folk and electronic to infiltrate the listener's psyche.

This compilation shows the lasting impact Funkadelic has had on popular culture and on subsequent generations of innovators, striking a balance between reverence for the originals and creativity from the re-visitors.

Lone's take on DJ-Kicks nails it right out of the gate, but starts to lose its eclectic melange as it pushes forward, swapping out the nuanced front half of the album with bland cut-outs that vary too little.

Belief System should clearly have been released as two separate albums; one that's a candidate for album of the year and one that's completely forgettable.

Throughout the album's 11 tracks and over 42 minutes of music, the quartet manage to brood their way through numerous artistic themes, from Bruegel the Elder to Samuel Beckett, running each through a Western American scope.

The consistency here comes in the form of non-stop, solid tracks; there isn't a bad recording on this whole album, which is no easy feat.

The band still know how to write a good "whoa-oh," and their message has been sharpened by outside factors, making it seem more vital than ever. Anti-Flag haven't changed; the world has.

Wilkinson's eighth full-length shows the musician's adeptness at thoughtful, patient compositions, but he seems to have forgotten the value of self-editing.

World Wide Funk doesn't break any new ground, but it showcases Bootsy Collins blissfully stretching out.

The Dusk in Us is another step forward for Converge, pushing their sound to new levels in a way that is uniquely their own. Although it took five years to come to fruition, the record was well worth the wait, and stands as a testament to why the band have become so hugely influential.

Anthology: Movie Themes 1974-1998 is a fine introduction to John Carpenter the musician for newbies, and a welcome re-visit for longtime fans.

This LP captures Shigeto's embracing of myriad sounds, styles and sensibilities, and while his original sound still shines through, he shows the listener that diving into new territory can have massive payoffs.

There are plenty of other highlights to be raved about in 4eva Is a Mighty Long Time's massive tracklist. Do yourself a favour: pick up this LP and immerse yourself not only in its impressive breadth, but also its practically unparalleled depth.

As a standalone release, devoid of the visual context it's designed to pair with, Rat Film doesn't always find lasting purchase, but it does in parts. ... Still, Rat Film shows off increasing nuance and range in Deacon's abilities as a composer.

Her move away from pop music on The Lonely, The Lonesome & The Gone signals a deeper understanding of the country, blues and soul genres, but there aren't enough ideas here to make it succeed.