There’s reason to believe that the kind of soppy, mellow pop they write just doesn’t have a place in our current times, that it reeks of starry-eyed nostalgia. But as every generation has a Seth and Summer romance for younger audiences to scrutinize and fawn over with episodic foresight, there will always be a platform for heart-on-sleeve songs to track the high and lows of a teen soap opera.

For whatever reason, though, the voices in her own head aren't strong enough to out-sway input from others, leading to a few unimpressive moments in the LP.

What For? is an ultimately perplexing collection of songs--a mishmash of Bundick’s best and worst musical ideas, but nevertheless a glimpse into an artist who is unafraid to shift into new sonic territory.

In the Cool of the Day is far from perfect, though. Moore's smooth vocal delivery suits the more minimal productions well, but it can become cloying when the backing track is too upbeat, such as on the irritating Up Above My Head.

The only real issue that Shura faces on forevher is that the record can be too much of a good thing. The psychedelic grooves that back the project can almost be suffocating, not allowing melodies or choruses to flourish on tracks that feel like a huge hook could bring them to perfection.

It's a solid, summery album that more than delivers on the tunes, and the LOLs, and you can't really ask for more than that.

If you have everything by the Scottish gang of five, this is good excuse to remind yourself of their genius in different circumstances. If you are new to them, then it is a fine introduction to a band whose importance and integrity over the years is unquestionable.

Its searing synths and chopped vocals can feel unjustified as a whole, but the songcraft is strong and the style supports some of its best moments.

It’s not always the most memorable listen, though through its free-flowing divagations we finally begin to feel more empathy for an artist who’s too perceptive to hide behind his taut guitar accents.

What keeps it from the top is the lack of musical surprises. Still, these twelve songs will keep you warm as winter turns to spring.

In honesty, a whole album of perfectly-executed retro soul can be a little wearing, but the craftsmanship carries it through, and the sheer joy of hearing a band go against the grain in the way that this band do, makes I Learned the Hard Way fully deserving of your time.

Though not quite the standout the band promises early on, it does end things on a mournful yet triumphant note. It caps off one of Pallbearer's most approachable statements to date, where they bring new life to their usual approach as they stick to their core sound.

He propels the masses into an apocalyptic party with simple and inviting gestures, even if behind the songs lays an exhaustive perfectionist who’s fully dedicated to his craft. That exhaustion does catch up with Maus as the quality of the songwriting loses its luster, especially during its second half, but his sharply quizzical thoughts do cohere into an involving whole.

Gore is a listen as complex and engrossing as we’ve come to expect from Deftones, and they continue to be a band that matures organically, becoming more and more fluid in their own craft.

A Hero's Death is not about growth: it's a band assessing where they stand as rising up-and-comers and having the impulse to express themselves differently. Maybe their sulking comes with a bit of affectation, but at least it's a convincing portrait of keeping true to themselves—soaking in everything that surrounds them.

Fever Dream may not be the most revolutionary electronic album of the year but as a whole, it's strong, and will prove an enjoyable journey for fans of instrumental hip-hop, triphop and chillwave, as well as anyone who is partial to the occasional moment of dreamy, psychedelic dance.

As with The American Analog Set, the music here is too quiet and specific to appeal to all, but I don’t think this is a bad thing.

Slight missteps do little to deter what is some of the band's most instantly likable tracks in their career, where they turn up one rave-up rocker after the next with wide-eyed fury. Having proven themselves time and time again, they've far outpaced those unwilling to grow up with them.

The good news is that there is no real filler on the album, but this uniformity of quality equates to an album where every song is good, but where few are really great.

Swimmer and a few other songs hint at what could have been, only to have the other half of the album play it safe. If only more of Tennis' songs took risks on unexpected palettes of emotion and drew from more complex poetic wells, then they might provide us with something special. Instead, they've created another enjoyable, if a bit rote and predictable album, like a relationship drifting into comfortable and boring domestic habits.

Boats has made something beautiful and invigorating at moments, while puzzling and slightly alienating at others.

Fading Lines does leave much to be desired in its implementation, though, but there are multiple hints here that suggest that this is only the beginning for de Graaf.

It’s more of an unconscious escape hatch that Lynch has constructed with intangible aural elements--a fantasy place that he allows us to walk around in for a while until we are forced back into the realm of the painfully awake.

Segall eases you with his unique charm, but he also tricks you, subtly cranking things up to remind you of his frenzied output. The tone remains largely indistinct throughout, but it also feels like he's begun concocting his next witches' brew.

This time around, his musings are openly candid and scarcely metaphorical, a necessary breather from all the stuffy, bookish references spread across his last two efforts.

Euphoric///Heartbreak is not an easy listen--as I've already alluded to, it's a convincing notion that this four-piece remain incapable of that--and while it is more theatrically anthemic than the first album, it is feels equally credible and sincere.

While this is one of Springsteen’s most genuinely energetic and exciting releases in ages, it isn’t constantly uptempo.

With Jinx, we get to see a promising band push their sound outward and gracefully mature, even if it doesn’t always floor you as immediately as some of Sports’ loudest moment do.