Give a Glimpse of What Yer Not is another fine entry into Dinosaur Jr.'s ever-expanding catalogue. Whether or not the group are attracting new listeners with these releases is unclear, but they're certainly doing nothing to dissuade old ones.

Opting to work with four different producers led the band to a wide variety of sounds on Morning Report, and while that will be a sticking point for some listeners, the record shows they're far from content in solely making plays towards accessibility.

On Night Melody, West has created a touchingly personal piece of art that feels more like an addendum to Howl than a jarringly new chapter in his musical journey.

No Hard Feelings isn't quite ground-breaking, but it's an exciting step forward from Dreezy's previous project, Schizo.

It starts off deceptively strong, with standouts like "I Got the Keys," "Nas Album Done" and "For Free" all loaded near the beginning. But once the album advances past this bit of clever sequencing, it barely strikes a chord.

There are certainly lulls among the 18 tracks, moments of randomness, and even an occasional lack of direction. But if Cline is indeed trying to conjure a feeling of romance through instrumental jazz, he's done just that on this record.

Compared to Memorial, the band's previous release, Guidance plays it straight and heavy, granting the listener fewer moments of mercy from the onslaught of Russian Circles' music.

Though at times a little too cacophonous, the nine-track LP is an impressive collection that remains true to its Afrofuturistic roots.

While the band clearly have a penchant for aggressive guitar, shouted choruses and thunderous drums, there are also plenty of subtler moments on S+@dium Rock.

Pleiades' Dust is a stunning release, a cohesive, exceptionally crafted piece that captures the heavy aggression and incredible musicianship of Gorguts while incorporating more avant-garde elements and a fascinating storyline to boot.

It admittedly spends a lot of time in a downer mode--a more light-amidst-the-dark feel would feel nice--but this sophomore effort remains affecting and affirming in its own quiet way

The experiences feel lived and the emotional crescendos genuine, but the inferred vagueness of the title belies the certainty at its core: For All We Know is a masterwork.

The King of Whys is wrought with restless artistry, simultaneously looking for and finding emotional release through musical exploration, lyrical introspection and bits of dry humour.

Hypercaffium could have been just another instalment in Descendents' long and fruitful career, and that would have been just fine; its biggest surprise is that it offers fans something new if nevertheless familiar, thereby cementing the band's continued relevance after all these years.

Though some may find the metal might tiresome over Periphery III's hour-plus runtime, the drive to keep exploring outside of their stylistic box continues to be crucial to their success.

Like many slackers with a heart of gold, Fulvimar is full of interesting ideas on this record, but can't seem to put in the work to flesh them all out.

The record is comfortably balanced between different periods of Shepherd's work, derailing expectation surrounding followups, all while still obfuscating the line between analog and digital. For Floating Points, it's business as usual.

Despite her great pipes however, the band's arrangements make much of Born of the Sun feel like amateur hour at Medieval Times. A talented producer would be able to focus on McCarthy's strong voice and balance some of the band's more freewheeling tendencies.

Look Park's weakest points are the frills that seem to dominate more than half of the album.

The Swizz Beatz-assisted "Let Me See Em Up," "Light it Up" and "Let the Beat Drop (Celebrate)" rarely do much to stand apart from filler. These occasional misses aren't enough to water down the entirety of Coolaid, though, with Snoop's return to G-funk proving refreshing enough to keep listeners' thirst quenched.

Angeleno, the triumphant debut from Los Angeles-based Sam Outlaw, is perhaps the best example of this old sound we've had in 40 years.

The MSTRKRFT formula of tight, catchy loops remains unchanged after all--they've just gotten a lot darker.

For an album comprised entirely of outtakes, Oddments of the Gamble sounds surprisingly realized and complete.

The result is an adventurous but inconsistent affair that suggests Clams Casino has plenty of ideas — and perhaps his masterpiece--still in him.

All doom fans should check out this album; those who aren't yet Inter Arma converts will more than likely be swayed by the cohesive chaos and neurotic introspection that define this album.

Despite the changes, many things remain the same, and fans can look forward to a solid third instalment.

It all taps deeply into different veins of pop, yet it's gloriously synergetic in the incredible world created by Prince Rama.

Dave Harrington's group stay in the realm of cinematic mood-scapes and atmospheres for the most part, despite some of their free-jazz inclinations.