Ultimately, variety is good for the album, but here's the thing: Martha's own songs can be completely riveting.

Part Two is a serpentine tour of disco, psych-rock, folk and funk, with a touch of house and a generous glaze of unabashed love. It's Romare at his finest so far, and whets the appetite for whatever honeyed treasures Part Three might hold.

Monument Building finds Loscil at his most focused, political and meticulous, a bleak but fulfilling listen whether you're aware of the album's brainy themes or not.

After challenging themselves on Whorl, Simian Mobile Disco push their craft as far as their comfort level will allow on Welcome to Sideways.

Slugger isn't a perfectly polished, radio-ready set of glossy chart-topping pop tunes, but an infectiously fun foray into shimmering, socially conscious synth-pop.

Black America Again isn't an album meant for casual listening, but rather a socio-politically charged album meant to be absorbed so that everyone can truly recognize the "Bigger Picture Called Freedom."

Arctic Thunder is an honest, heavy and crushing effort.

The Olympians don't break the mould here, but they deliver robust soul with tight compositions, florid instrumentation and that trademark Daptone sound that feels authentic and earned.

Here is empowering at times--it's strong in craft and intent, and will likely perform well--but the hope that Keys will deliver that iconic, instant classic album continues on.

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.