The often minimalistic approach requires time to settle in, still the duo clearly had in mind the bigger picture. It definitely has a charm of its own, despite being hard to digest and most importantly, enjoy. In a way, it shouldn’t become a pleasant listen due to the nature of the stories it depicts. Even so, it’s a really moody one, the way every other Xiu Xiu album turns out to be these days. Taking risks is appreciated though.

Human the Death Dance may not be perfect and perhaps not even an improvement for fans, but regardless, it's full of wonderful moments that should satisfy fans and serve as a great introduction for newcomers.

Its faults are minimal, though its highs are somewhat indistinguishable. In the end, you're left with a wash of mid-paced, hook-laden and relatively solid post-post-hardcore.

Chesnutt has created something earthy and beautiful with North Star Deserter and at this point, its difficult to imagine another singer/songwriter bettering it this year.

This is a great record but is very often hit or miss.

Eremita has the makings of something excellent, especially given the quality of the guest performances and the sheer creative vision that Tveitan holds within himself.

For the die-hard Four Tet fan who jumps over every release the man has put out, Pink isn't really going to offer much outside of a rather flash piece of packaging that coincidentally happens to store all of his recent tunes in one convenient place. For others though, it's simply going to be another Four Tet release, which is a lot better than a whole lot from everyone else.

It’s hard not to enjoy it. With Muse, they have [un]intentionally touched on this form of art. For (mostly) all the wrong reasons, Will of the People is the best, most engaging record to come from the band in sixteen years, and it’s quite possibly the most fun I’ll have with an album all year as well.

Tyla's 35-minute runtime does feel a bit like a brief spin on an exercycle that refuses to leave low gear, and net dopamine levels are limited. .... Nevertheless, there is plenty of playlist fodder to be plucked from Tyla's trim confines.

The Great American Bar Scene sees Bryan once again settle into something of a familiar groove. He tries throwing John Mayer and Bruce Springsteen features into the mix, but the results are ultimately the same: more slow-to-mid tempo country crooners with results-may-vary emotional resonance. The album is unsurprisingly at its best when Bryan injects fresh ideas and more energy into his formulaic approach.

Definitely a leap into the right direction, the album is the product of a clear mindset and less ego tripping.

Liars successfully created a stimulating, challenging, and disturbing record and while it may click immediately for some, don’t get frustrated if you find yourself lost in the woods.

The World Is Yours won't set the world alight with insightful lyrics or experimentation, but that isn't what we've signed up for. This is an LP that just does not let up from the get go.

The witty anti-gangster taunts of A Little Bit Cooler and pretty much everything else on the album, makes for a fun, but still quality, Hip-Hop record.

Timewave Zero isn’t going to fuel everyone’s jet, and those looking for another slab of progressive death metal madness are sure to be miffed. Comparatively speaking, this little group from Denver set the bar dizzyingly high with their death metal albums one and two, but regardless of preference, Blood Incantation continues to impress—resetting the timeline as they go.

Despite the minor grievances and sore-thumb songs, and the fact that it's unreasonable to compare this record to its near-flawless predecessor, I Liked It Better When You Have No Heart is a sterling addition to Butch Walker's celebrated discography.

Although it might not be his most cohesive or strongest collection, the man manages to cater to every fan. He sticks what he knows best and that's how we want hi

Dom's sound has enough edge to satisfy the critics and enough energy to satisfy everyone else, but for what it's worth, this is the kind of album you don't have to think about for even a moment; sit back, sing a long, play it in the background, it doesn't matter. Just enjoy.

The room for improvement only makes this consistent, catchy and accessible album all the more successful.

The Fame isn’t a defining moment in pop culture, but it is a promising sign for Lady GaGa, with plenty to dance to.

Neck of the Woods marks interesting territory in their development; it both stands its ground and stretches its legs without actually feeling like it's desperate to do either.

It's easy to enjoy on a superficial level, because the music is well written and enjoyable, and lyrically it's more than I could have expected.

Essentially, Still Night, Still Life is a fun, carefree listen and doesn't pretend to be anything more. As an added bonus, it's also a clear improvement over the band's past works as well.

This feels like a halfway point between a true Flaming Lips full-length and one of their many novelty side-ventures. This is undoubtedly a worthwhile pursuit for fans of the band that also marks a welcome return to accessibility; maybe with a bit of a stronger backbone, it could have been more.

More than ever before, these songs spin on their own axes: and that fact alone makes this record as positive a step forward for Tycho as anything.

Weapon is the sound of a band that still has something to say, but delivered with a comfort level commensurate with their thirty years of existence.

Vampire Weekend banks on showering its tribal pop with lyrics poised for literary analysis, skimping pretentious by appearing completely natural.

The essence is there, and it’s a force, to be sure. If it doesn’t feel as raw, as dangerous, or as alive as it did in the past, well, once a wildfire’s burned through a place, it’s going to be hard for it to relight itself. But those embers are still glowing with that evil heat, and Rack still carries more than enough weight to rest among all but the best of the Lizard’s material.