A great success on every level; this is their best album since The Earth Is Not a Cold Dead Place.

Volta is a strong album with memorable, remarkable tracks that have great variety, so much that the album loses cohesion.

To put it simply where Treats was the party soundtrack, Reign of Terror is the entire party.

it sounds like Motion City Soundtrack are warming up for an absolute classic. This isn't it--but it'll serve just fine in the meantime.

There’s rhyme to their reason, and the album’s flow is dictated with confidence rather than precarious doubt. The whole thing is refreshing, and Black Rivers’ willingness to experiment is a trait that will definitely resonate with you following the album’s conclusion.

As easy as it goes down, The Voyager is a record that rewards repeated listens.

What makes Repave different is that it’s the result of multiple creative minds at work, and that synergy is what makes the record so invigorating.

Carrier, finally, brings that emotional subtext to the front, and the result is a Dodos record that is thrillingly translucent and crushingly intimate, almost uncomfortably so. It’s love and loss, as straightforward as you please.

Winter’s Gate is entirely enjoyable throughout--nothing is even close to being poorly written or executed--it is just that there are almost no moments in the entire 40 minutes that I would call exceptional, where the band went above and beyond to craft something truly memorable.

Disco4 :: Part II might not get everything spot on, but it still stands up to Part I in a way that proves their last record wasn’t a fluke.

The end result is a tepid, lifeless album devoid of everything that we've come to expect from them in this part of their career, leaving only the most traditional aspects of their sound intact.

All in all, these more "experimental" tracks had some very pleasant surprises, with "Golden" including sax leads and Clementine singing in a whispery register that falls outside of her usual belting.

John knows what he does best and that's exactly he delivers, every damn time like clockwork.

Sonik Kicks rather helpfully lives up to its name.

An opus that reaffirms Tinashe's place within the pantheon of modern R&B, yet one that also proves that she needs to slightly refine her formula to craft that defining record she's been hinting at here whole career.

It may not inspire a revolution or magically fix the problems of the Trump administration, but it's a comforting and rewarding listen.

The result is something that feels like an exotic journey and a familiar stroll all at once, and the comfort-to-exploration ratio is perfect.

It's not that it's post-rock-by-numbers, although at times it really is, but more so that it doesn't even sound like there are painters behind the palette.

It's not very ambitious, it's not very original, and it's not very deep, but what it is is fun and what it does is give you a half hour to lose yourself in a little sun-dried nostalgia.

There’s little to complain about here, honestly. I think the only flaws I have with Vol.11 & 12 fall on the things it doesn’t utilise to the fullest. ... The important takeaway from this is that it is a really fun record to listen to. It’s short, it’s tightly written, and it will cater to a broad demographic of listeners.

The record lacks the depth found in Nine Inch Nail’s previous records and the engrossing brilliance of their more experimental leanings. All that aside, Hesitation Marks stands as incredibly solid, perhaps more so than any record put out by the band in over a decade.

Although the softer moments here are only soft in comparison to the dazzling cacophony that usually accompanies her songs, Welch does seem more confident here letting her pipes do the heavy lifting.

Youth Lagoon's debut consistently delivers on the suggestion of its appellation: youth.

Despite some missed opportunities, Violent Waves is exactly the album Circa Survive needed to make.

We Are Chaos uses a pretty masterful balance of old and new sounds, similar to the way he integrated The Pale Emperor’s bluesy framework with his own ghoulish traits.

A passionately resonating, electronic-underscored tour de force that somehow never betrays their true essence.

There is not one note out of place; the music remaining tight, aggressive and addictive throughout.

Add Violence returns us to the bite-sized pop with-a-dark-side which has been Reznor's bread and butter since 2005, but without the energy of Dave Grohl pounding the drum kit like it said a bad word about Kurt Cobain.