Although there are moments that show cracks, such as the uneasy, meandering riffs on "Born in a Rut" and the ridiculous chorus of "Canna Business," the majority of the straightforward thrash songs here demonstrate that Testament's magic has yet to fade.

Stripped is exactly that: fully chilled out and no-frills in intent and sentiment. It's better than expected.

What should continue to draw longtime Lambchop fan in to FLOTUS is the fact that Wagner's songwriting, lyrics and arrangements remain as strong, insightful and clever as ever, making nary an eye blink at Wagner's odd journey into new musical dimensions.

The result is a superb rock'n'roll record, bristling with energy and defiance while digging deep lyrically.

Marked by stronger grooves, darker lyrics and catchier hooks, Touch pushes July Talk's musical vision forward without sacrificing their core elements. It's an album that should cause anyone who'd previously dismissed the band reason to reconsider their stance, while exceeding existing fans' expectations.

Heaven Is for Quitters follows no pattern except that of disconnect, so while many of the tracks work as they are, it's far from a cohesive album.

While the echoing melodica used throughout gives everything a sort of "Clint Eastwood"-y sheen, that's not necessarily a bad thing--if anything, it's evidence that Marching Church know how to create an atmosphere on par with far more experienced songwriters and performers.

Serenity is certain to scratch an itch. Still, there's a sense of "good enough" with all of their recent releases, and it's a problem this record just can't shake.

Big Box of Chocolates, like its name suggests, can favour quantity over quality and a mix of good and not so good, but if you take it as it is--an easy-going record made by '70s rock enthusiasts--it packs enough good vibes to keep you listening.

As a third album, it's an interesting station on the way to potential greatness, and it will definitively put the group on more than a few radars. Above all, on this album TOY makes us feel really excited about Brit-pop again, which itself is no small feat.

Topped off with exhaustive liner notes with essays and photos, Masculin Féminin is specifically designed for completists, providing superfans a satisfying wealth of unreleased material.

Retribution is immersive, cathartic, potentially even transformative.

The album's peaks offer compelling paths forward for Gaga--the country balladry of "Million Reasons," the slinky pop of Florence Welch duet "Hey Girl"--but a dearth of memorable melodies makes Joanne's restlessness often feel aimless.

His lyrics are varied, vivid and heavily inspired--by novels, documentaries, history books and more--as he tests the boundaries of his literary creativity, exploring a vast range of narratives, perspectives and topics.

They've given listeners a sense of what they could be if they really stepped outside of it here, and quite frankly, a little more could go a long way.

You Want It Darker is a strong record, with an even stronger message.

The result is remarkable consistency across 19 tracks. Indeed, Yes Lawd! is an album best appreciated with complete play-through.

Her most ambitious work to date, both conceptually and instrumentally.

It's a true joy to hear talented women juxtapose their obviously more gifted vocals with the rough-hewn Prine in dramatic, textured contrasts. On For Better, Or Worse, they help this old mailman deliver once again.

This is nostalgia in essence and in practice, and it's pretty much everything that fans could have wanted.

Overnight's departures from form are subtle.

Even though it's rammed full like a powder keg of discontentment, the opinions expressed on Running Out of Love don't stop it from being the elusive indie pop band's most unified record to date.

Front Row Seat to Earth might not be the most immediate record released this year, but it never turns its back on you. Accessible without ever being simple, it's one worth getting into, even if the way is labyrinthine.

While it can be hard not to yearn for more massive and cathartic songs like "Reflection," Light We Made is still a quality effort, even if it's an adjustment.

Moby isn't letting the ills of the world get him down though; instead, they serve as the driving force behind These Systems Are Failing, an album both powerful and political that plays through without coming off the least bit preachy.

While they don't break a ton of new ground with this record or introduce any drastic new elements, Only Ghosts is still a great new addition to their canon.

It can feel a little tiring at points, as the music arguably borders on being too dense and involved considering the album's aloof spirit, but Oozing Wound do a good job of sequencing and varying tempos.

Overwhelmingly, Winter's Gate is a tight and focused melodic death metal album, and yet another quality release in Insomnium's discography.