Earthly Delights shows that they have yet to exhaust their uncanny vision.

Even with a diversity deficiency here, you have to admit that this is album is noteworthy. My suggestion is to gather up his entire catalog and put it on a random shuffle so you don't suffer from the monotony.

Out in the Storm is perennially bright, with its melodies maintaining a serrated edge that ensures the sound remains robust, immersive and hard-hitting.

"Matured" is an overused word in music criticism, but that's what No Age have done. They've evolved in a completely logical direction in ways that are pleasantly surprising but never jarring.

Reflektor hits too many high points to entirely consider it a failure, and despite its convoluted lyrical content and overreaching scope it still crosses the double album finish line with satisfactory results.

It’s not a completely futile exercise--there are some decent tracks--but it falls far short of the quality of its predecessor.

By stripping things back a little, Low have turned in their most confident, consistent record to date (admittedly this might have something to do with the fact that, running to only ten tracks, C'mon is also their shortest), and even, in places, sound like they're actually enjoying themselves.

Sun Coming Down constantly engages and enthralls with an odd sense of humor, cementing Ought as one of the few contemporary post-punk acts that seamlessly merge frantic irreverence with feral intelligence.

Tracks like Nina and Part III give some motion to the album's swaying ebb and flow, while the intricate contours of Ghostride highlight how they craftily maneuver texture and groove. Nevertheless, there's also a hidden complexity behind Jinx's playful variations.

While Swet Death’s strongest moments come when Bachmann is front and centre, doing his thing, there is little here to rival his best work.

Sadly, the interesting ideas fall at the place on the spectrum where it jives for just a short time, at least for this particular listener.

Glossily produced, the new album is much less thorny than Marshall’s earlier works, showcasing the artist’s songwriting and soul singing talents.

Perhaps the most significant thing that Director's Cut offers is context. Not just the context of an album – which it is being touted as, rather than a mere compilation – but the context of era, in how technological limitations of the time affect a composer's original intentions.

Harvey’s audio experiments are celebrated with the release of each new album. But I wonder what she would do without any limitations.

Gorguts are no strangers to ambition, always pushing themselves to find beauty in the darkest, most sinister tales of our checkered evolution. What’s most surprising, though, is that we finally get to witness a cast of players who can actually give the ever-shifting Gorguts name the treatment that it deserves.

The main issue with Mr. M is that, while it's beautiful on the surface, it doesn't really go anywhere.

Saturnalia revels in sin while occasionally contemplating salvation. Mesmerizing comes to mind.

While there is no denying that Keep It Hid is the product of one half of modern rock’s most invigorating duos, Auerbach is able to mix in enough of his own spice to make the album a worthwhile affair.

It sometimes renders a bit slight and doesn't have quite the volume of her best material. But Grid of Points pulls you in all the same, and as it is with Harris's best work, she emanates a mysterious allure.

There is no sense of fatigue here. Alongside Sebb Bash, ELUCID sounds reinvigorated on what is essentially a more traditional Hip Hop record than Revelator—and, if I’m honest, a better one.

What's fascinating about their return in album form, Sixth House, is how they manage to pick themselves quite faithfully from their teetering anthemic force.

Van Etten took the risk of not releasing any singles beforehand so audiences could more fully understand the full scope of the story. She holds a little bit of control before charging ahead, unlocking the connection she craves after experiencing a ceaseless stream of negativity. It's the kind of emotional catharsis all of us can relate to during these uncertian times.

Cruise Your Illusion doesn't disappoint; what the Washington four-piece have accomplished is as authentic as the influences that ooze from its fuzz, and warmer than an Arabian armpit.

Lush marks the arrival of an immensely talented singer-songwriter who also still has much room to grow. It may not live up to those more exuberant expectations of an instant classic, but it’s still an admirable, skillful piece of music that leaves me excited for what comes next. In this case, Jordan hasn’t finished the race. She’s just arrived at the starting line.

The Unraveling finds Hood and Cooley as fiery as they’ve ever been. If American Band proved that the Drive-By Truckers still had plenty left to say, The Unraveling shows that they can allow themselves a bit of fun in the studio while getting their message across.

These singles are still some of the best music being put out today, but the filler songs are so forgettable that it's hard to see the forest through the trees.

If you strip their sound to its core, like the harmonies and the distortion, you’re left with an invariable rock record. If this isn’t a true representation of what modern rock should be, I don't know what is.

While the production on this album brings a multifaceted sonic support system into the picture, its own repetitive nature, along with that of Rashad’s lyricism, lead to exhaustive monotony.