He [producer Andrew Wells] manages to magnify an already impressive sound without weighing it down in over-production or slickness. The Vaccines have been a big deal back home, but Pick-Up Full of Pink Carnations could (and should) be the record that brings them that same type of recognition in the U.S.

As The Velveteers continue to grow, so does their sound and songwriting. A Million Knives is a positive next step on their journey.

The dissonance in styles and tones is unnerving in the best way, resulting in a multifaceted experience that challenges metal preconceptions while remaining easy to digest.

Engines of Demolition shows that Black Label Society hasn’t lost a step over the last 28 years. It’s uncompromisingly heavy while doling out hard rock hooks and introspective meditations on mortality.

In terms of tone, production, and energy, Neon Pill feels connected to Social Cues. And like that album, there is plenty to enjoy, even without the powerful guitars and frenzied vocals. This softer Cage still has the grooves and melodies to keep things interesting while the band gets more comfortable.

The softer, subtler sound of The Other Side of Make-Believe means it’s never able to reach the greatness of the peak moments of Turn On the Bright Lights or Antics. It simply doesn’t have those powerful moments. Despite that and Banks occasionally singing outside of his range, it’s a solid effort and a welcome splash of color to Interpol’s dour palette.

This album is a success, albeit one that does little to distance itself from the releases that came before it. Each track shares the percussive and wonky tone of Face Stabber but Dwyer knowingly infuses enough melody into the highlights to make for a few key standouts.

Extreme Witchcraft proves Everett is willing to let it all hang out sonically, delivering enjoyable results.

The band crafted their most personal and revealing album to date by allowing themselves to play with minimalism in a way that creates an atmosphere of honesty. Fantasy has M83 at their most fearless.

A stripped-down guitar-forward record that still wraps the music in a solid pop sound.

While the aural tour of influences here is mostly a good thing, there are a few of songs that seem to pull down the record at times – even at just nine tracks; “The Way Things Are” just sounds maudlin, and “La De Da, La De Dum” and the instrumental “So, Damned, Blue” sound more like filler tracks. That being said, there are more than enough tracks here that are bound to satisfy long-time LaMontagne fans.

Overall, it was an excellent example of electronic production by two masters at the craft. A lot of instrumentally based albums move all as one piece, but “Aporia” was a combination of tracks each made as an individual piece creating a distinct musical picture. Listen with headphones.

Everything from future horror movie soundtracks, to thrash blasts of rage, to smoky 70’s fuzz flows out of Arrows and while the overall result is a bit hit or miss, Red Fang returns back to their sweet spot; recording together for the simple love of playing heavy music.

Like all of the band’s reunion releases, The Night The Zombies Came is a mixed bag overall. Some heavier offerings, slightly off-kilter rock, acoustic strums, and larger sounds add to the musical range. It ends up as a serviceable rock record that never sniffs the heights of their early career classic output.

These three-part harmonies and killer songwriting mix light and dark to muster a complex ode to memory, a call for hope, and an exercise in empathy, yet the overriding result is joyous. Careful planning and years of work went into this project that breathes a spirit of collaboration and freedom beyond the meticulous decisions about instrumental textures.

Ricochet is an irresistible album full of simple but effective song-craft decisions that add up to a next-level moment for the artist.

In stark contrast is the self-indulgent hero worship of “The One And Only (Van Dyke Parks).” However well-intentioned, the track is too cute by half, but its juxtaposition with the “Back In New York (Electric Mix)” redeems the conclusion of The Great Escape as crisp electric guitar figures echo through the jaunty tone of the Modrec Horns.

Although she admits to being purposely eclectic, it sounds as if there is too much experimentation at play. There are some great songs here, but a more organic, less produced kind of musical accompaniment would arguably strengthen the material.

As good as last year’s I Told You So was, this is an even stronger response to their already highly raised bar.

Where Go stood as a natural outlet for stifled creativity, Shiver extends Jónsi’s prowess even farther. Both may prove to be products of their times, but both serve as deeply singular bodies of work.

Earth To Dora is very much a turn up the volume, open the windows and let everyone enjoy it type of record.

Is 4 Lovers has plenty of style and substance. Though the album goes in some new directions, the formula of previous Death from Above 1979 releases is still there and it still works. Is 4 Lovers is heavy and unpolished but full of charm and memorable hooks to go with the rumbling bass and bruising rhythms.

Brian King and David Prowse traffic in exhilarating rock and roll that fuels climactic moments throughout the course of a live show and on this night, the two musicians pulled tracks from all three of their upbeat studio releases. That stated, this live capturing does not improve on any of the songs presented on Post-Nothing, Celebration Rock or Near to the Wild Heart of Life, yet for the duo’s fans, it will recall fond memories of shows past.

In more ways than one, these renditions fulfill the duo’s ambition to avoid just cranking out the hits.

Rogers is well on her way to inhabit the bright spotlights of stardom with her affecting lyrics, strong vocals, and gorgeous soundscapes of dance floor filling tunes.

Unlimited Love is a decidedly low-key affair, not concerned about competing with the band’s past greatness, but rather more focused on the simple joys of being in the same room jamming together again.

Generations is a more mature album than Policy in that Butler creates a cohesive narrative throughout. ... Butler also proves that he is adept at creating music on his own without having to rely on past sounds from Arcade Fire.

While Closure/Continuation doesn’t contain the triumphs of past efforts, it is a rewarding listen from start to finish and adds another medal around prog-rock ambassador Steven Wilson. This dexterous trio appears delighted to deliver for their core audience to whom what they hope is a new beginning.