Overall, Atrocity Exhibition is chewy and eclectic, a rich experience that reveals a new surprise with each listen. Years from now, there will still be goodies to unpack.

Taken as a whole, though, EUSA is luminous, a grand gesture made up of the kind of small, gorgeous moments that will remind listeners of home--wherever that may be.

If Every Time I Die's consistency hasn't impressed you these past few LPs, Buckley's bout of unbridled emotion on Low Teens certainly should.

Head Carrier sounds far more restrained and lifeless than it should be.

Blood Bitch won't reward casual listeners, but it offers plenty to those who want to get a little lost.

Hamilton + Rostam synthesizes two distinct musicians for a sound that's ultimately greater than the sum of its parts.

It's an emphatic step forward, a gorgeous album that, rather than running from it, reflects our fractured world back at us.

Unfortunately, Keith is treated to some friendly fire here, as most of his cohorts outshine him.

THC is filled with indications that it's a labour of love, in every way. Single "Spread Love" feels like the main objective of the record. With help of BADBADNOTGOOD, theMind, Noname and others, the album comes together with live instrumentation and smooth production.

This record's varied influences are held together by the mastery of both D'Agostino's songwriting and Congleton's production. It's unpredictable but immensely rewarding.

With Physicalist, Forma have issued a gorgeous statement that extends beyond being a culmination of their previous work. This LP is an example of a collective approaching its zenith.

While there's room to reflect on things like dynamics and vocal mixing (Perry's ancient cackle sometimes gets blurred, patios aside), and while Perry is one of the best mixologists in history, Must Be Free is not his best.

For those who've held on for the ride and enjoyed the band's descent into the heart of darkness, it'll be a welcome addition to your already massive collection of the band's many gems.

While ψ certainly isn't for everyone, it's nonetheless an important album that strives to get us to think outside the boom box.

At this point, Glasper, along with bassist Derrick Hodge, saxophonist Casey Benjamin, and drummer Mark Colenburg, are a well-oiled musical machine. As the Robert Glasper Experience, the quartet embrace jazz as they steer the genre into exciting directions.

All in all, there's ample material on here for fans, even if Mount Ninji lacks a lot of the bite that made albums like Ten$ion and Donker Mag so fresh and exhilarating.

The album is riddled with feeling, and there is an adamant sense of joy.

His ability to make sonically adventurous, emotionally rich pop has made him a perpetually welcome presence in a crowded field and made Care another triumph.

Often working separately as they balanced various side projects, the recording sessions for Heads Up have resulted in an eclectic, nuanced collection of songs.

A Loud Bash of Teenage Feelings might not be an earth-shattering departure from last year's full-length debut The Things We Do to Find People Who Feel Like Us, but it's a loud and beautifully fun ode to young outsiders falling in love, getting fucked up and revelling in their weirdness--and that's advice as good as any.

The album has all the material necessary for a great release; it's simply lacking in its arrangement and execution.

If Pale Fire read like a dream, KoKoro reads like a worldly, real-life adventure.

For the most part, the rest of the album is less head-turning, which that can translate to forgettable. Still, it's about time Taking Back Sunday shook things up, so the high points make Tidal Wave an effort that should please dedicated fans and appease the sceptics somewhat, as well.

As a whole, though it's compositionally beautiful, Lights Falls leaves the listener deeply emotional--both distressed and saddened. However, this strong reaction is artistic success for Robinson.

The album is a passionately written and deeply moving meditation on loss, and Touché Amoré have never been better as a band.

Ciani and Smith's exploitation of the Buchla's possibilities is exemplary, and worth looking into for fans of ambient or experimental music.

Keaton Henson's evolution has been exciting to behold, and Kindly Now is another compelling release.

This is a winner, another great release from a band that, really, has no problem delivering great albums. Shape Shift with Me occupies a perfect middle ground between their last two discs, and that's a very special, and unique, place to be.