This collaborative album, It's Hard for Me to Say I'm Sorry, casually sits somewhere in the middle between tonal ambience and noisy dissonance.

Scott's hedonistic lyrics about sex and drugs remain awfully vapid for what's been billed as a trap masterpiece (the utterly banal "SDP Interlude" takes the cake). ... Scott's strength, of course, continues to lie in his ear for beats, with part of his appeal being his ability to make songs with less than rewarding subject matter still sound cool.

Preoccupations are steadying their footing here, both growing up and grounding themselves sonically.

On Furfour, Grumbling Fur prove once again that they have the chops to inhabit multiple worlds at once: they're natural songwriters, but also aurally astute sonic innovators. This record delivers on both levels.

Femejism is a powerhouse album that exudes defiant independence without succumbing to tropes, but there are moments where it falters--the overly abrasive yelling on "Little Baby Beauty Queen" comes to mind.

Oddly captivating in running just shy of 40 minutes, Splendor & Misery is hardly your overblown concept record that runs far too long. Indeed, it's worth multiple listens for both its out-of-this-world production and Diggs' one-two punch of lyricism and bafflingly effortless delivery.

Beyond its heaps of pop-rock hooks, TUNS debut full-length is a testament to the eternal power of friendship.

Townsend takes his fusion of weighty progressive metal and string, horn and choir sections to lofty heights here, not unlike what he achieved with Epicloud and Sky Blue.

PHOENIXXX is a difficult listen, abrasive and angry, but it's expressive and worthwhile if you can manage to make it through.

It's said to be his rawest grapple yet with anxiety, but it's full of lush, buoyant pop songs.

Unlike many B-side collections, much of E•MO•TION: Side B has single potential to the point where it's crazy that high-energy synth-pop gems like "First Time," "Higher" and "Body Language" were left off of E•MO•TION for mid-tempo bonus cuts like "Black Heart."

Sunlit Youth may not be the massive leap forward some fans may have wanted, but it's far from a step back. Instead, it's yet another steady offering from Local Natives, who continue to build on a solid catalogue.

The Sun's Tirade is pleasant, but it's not timeless.

Calico Review may leave the listener feeling a little parched, too, as it doesn't paint as bright and stirring a picture as either of its predecessors.

While the group may have dialled back the volume in recent years, they've imbued their new material with a subtle emotional resonance.

A.I.M. may not be concise, but it's focused and purposeful, a loose collection characterized by sticky-hot swagger, political awareness and, most importantly, urgency.

The result is a moving, disquieting experience, sweetness and fear mingling together as the summer fades into autumn.

Sheff's lyrics, while typically verbose but economic, are more rambling here, but it's refreshing to hearing him cut loose.

Thug really makes the most out of the seven notes he has. It's impossible to hear him get all guttural on "Harambe" and not feel it in your stomach.

Skiptracing takes the listener on a beautifully produced and paced adventure that plays out like a soundtrack.

Having had their murky fun, Sarah Pendleton and Kim Pack emerge with the confidence and breadth to wring every ounce of emotion out of their instruments.

Zomby changes style a frustrating amount, and all of it crawls along at a painstaking speed. He's gone for something different here, which is commendable, but the end product, sadly, comes off more pretentious than deep.

Cooper seems to have found just the right balance of electronic elements and traditional instrumentation for this album, as well.

A fascinating, affecting statement from a musician firmly in control of her artistry.

Staples approaches the latest chapters of his story on Prima Donna in bleak fashion, his pen and delivery both as sharp as ever.

When Anything But Words ups the pace, it proves to be one of the finest records of the year.

While they exceed expectations on these non-assisted tracks, De La Soul also more than hold their own against their superstar guests.

It would be unwise to view Amnesty (I) as the rebirth of Crystal Castles; it's simply the next step in the band's evolution, a welcome return.