Yet there's certainly no shame in falling behind three albums that are as brilliant as those are. For the fans, this is a blast - suddenly, trip-hop's Godfathers are back on track.

It’s a respectable record with easily enough depth and conviction to hint at something thoroughly vital, but it folds so much of itself along lines too deeply creased into forms too clean-edged to bear the kind of authorial stamp its many raw qualities beg for.

It ends up being a mixed bag of give and take, but as an assault on all senses it always manages to succeed.

As a whole, Shadow Kingdom might not be a revelation, but it’s an interesting experiment with plenty of solid results.

Down and dirty, it grooves by on soulful power chords and Carney's relentless hammering of his kit.

Their vocals throughout the entire album are fantastic and they work together only like sisters could, even if they live across one of the largest countries in the world.

this is a Mono album through and through, so much in fact that this reviewer felt déja-vu during some of the more lulling parts. Depending on one's feelings towards the band, this will be a key factor in whether or not this is a worthwhile listen.

Meet the new Rush, same as the old Rush....and as it turns out after all these years that's a pretty good thing.

All in all, The General Strike is all we can really ask for from Anti-Flag these days: a solid set of tunes for the pinko bastard in all of us.

So no matter what audience The Big Deep finds, one must respect The Sleeping for this sincere and passionate performance... For this truly is now a band that feel comfortable in their own skin.

If you were one of the many that loved "I Am A Bird Now" when it was released, then you'll undoubtedly enjoy this just as much.

Even though The Nightmare of Being doesn't gather all the necessary ingredients to establish itself as a masterpiece of the genre, it is most certainly a worthy and surprisingly contrasting addition to the band's discography.

Lyrical content aside, Thirteen sees Megadeth do very little wrong.

For an album heavily predicated on Adams' historically hit-or-miss songwriting, Ashes & Fire is surprisingly steady.

Sometimes The Blues is Just a Passing Bird is a quieter set of songs, and an EP that continues to reveal both the talent and ambition of one of the most exciting folk artists of recent years.

What it lacks in punch it makes up for in being a more focused effort than its occasionally mixtape-esque brother, and thus, Oxymoron isn’t so much a backpedal for Q and TDE as it is a solid side-step.

Although Too True is not Dum Dum Girls’ finest hour--that would still be the cathartic Only in Dreams--it remains a commendable shift from an artist on the verge of being swallowed up by memory.

It is basically the quintessential Avril Lavigne record, featuring the soaring choruses and melodies that made us fall in love with her over the past ten years, as well as the silly (and sometimes stupid) quirks that range from endearing to flat out annoying.

This represents a new territory for both Dulli and Lanegan, and it's one that they (generally) excel in.

Trees Outside the Academy, as a whole, is not the musician’s best work, but it’s worth the listen for anyone interested.

Sonik Kicks rather helpfully lives up to its name.

For all of her posturing and ruminations on life, love and other such considerations, you may well ask yourself whether she is merely playing a part and recycling old themes or if she has the experience she so eloquently sings about.

In The End It Always Does is a mixed bag, but I wouldn’t describe it as a minefield; it’s more like a diamond mine and a minefield are engaged in a land dispute. Amber Bain’s ethereal vocals and meticulously crafted melodies make this an album that I certainly recommend checking out, if only for the allure of the stronger tracks that constitute a little over half of the record.

When We Fall Asleep, Where Do We Go is a volatile launching pad. This is anything but a safe debut, which could make Eilish a star In her own right--in the realm of dark pop--or alternatively could see her collapse under the weight of her enormous aspirations. It’ll be a wild ride either way, with plenty of dissention along the way.

There’s no attempt to recapture their classic sound, no blatant radio single, and not even an attempt at performing more than what they’re comfortable with. If you’ve followed Metallica beyond the black album, you’ll find a very good, honest, release in Hardwired… To Self-Destruct.

Penny Sparkle's brisk length works to its advantage: music this glacial just can't be endured for too long. But this isn't to say Penny Sparkle doesn't (possibly) foretell a interesting future for Blonde Redhead; in fact, I'd say I'm hoping more than ever before that the band sticks with this newfangled direction, to see if they can work out the kinks and make the kind of record Penny Sparkle could've been.

Flying Microtonal Banana is essentially the same King Gizzard album from last year, updated for the sake of its own consequence. But it's also better than most other albums of its sort, specifically because King Gizzard appear able to coherently piece together a fun anthem with a sense of musical direction.

While it may not be a classic record and won’t be the new soundtrack to the revolution, Appeal to Reason is filled with faux-punk rock anthems and memorable lyrics and basslines that will satiate anybodies need for Rise Against.