The record still varies its tempo from time to time, resulting in some truly gorgeous gems.

This long-awaited comeback album stands on its own as a remarkable achievement for a band that had to earn their legacy over time, and the love that this album has received reaffirms that legacy, and proves that Slowdive are still capable of exceeding expectations for a modern, invigorating comeback album that cements their talent and emotional resonance.

Although there's nothing innovative about it, at least they brought the guitars back, offering us a handful of groovy tracks among all the kitschy bonanza. The LP is stagnant in the grand scheme of things, but that's good for them. It could've been much worse.

There is no time to make sense of preceding chaos, probably because there is nothing worth making sense of.

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

It’s a consistently, gorgeously understated record.

Gargoyle marks another solid addition to an extensive catalog.

Every song is so utterly devoid of energy, like they've released a record composed of the spaces between the notes in all their previous work.

Their most socially aware record yet. Whether they address political issues, genocides (both historic and contemporary) or anxieties caused by alienation or inability to cope with the overwhelming pace of the 21st century, the band smoothly blends the beautiful with the ugly. In between the loud, razor wired guitar attack you also get lovely picked chords or bouncy bass lines.

Actress is known to be deliberate and, one might argue, almost ponderous in how he paces his work, but AZD is especially bottom-heavy in concept. Like in an adult store, the best stuff is at the back.

DAMN. remedies a lot of its predecessor's mistakes and gives us something better--a Kendrick not seen since Section.80, throwing tonally and stylistically inconsistent songs together in a desperate scramble to tell us just what the fuck he's feeling. It's slipshod, haphazard and rocky to listen to, and that's the Kendrick I've been missing for the past few years.

They are masters of atmosphere and intrigue, and flirting with pop music has only further aided their chameleonic nature, with this being their most satisfying and diverse effort in many years.

Pure Comedy is definitively a headphone album; where I Love You, Honeybear made you swoon with its overt eclecticism, the gems here need to be unearthed after a few excavations. The album’s pacing does not help matters, burdened with a middle section that dares you to fall asleep and counts on a deep love of Tillman’s voice.

This is a great album, perfect for a retro rave and I am happy to see the band reactivated. Hopefully, it won't take them another 7 years to release the next LP.

They have embraced mainstream success in the best way that would be possible, by sticking to a high concept and shredding their way through a heady, emotional backdrop while displaying their instrumental virtuosity amazingly.

You’re Not As ___ As You Think feels like the conclusion to something that was never started in the first place, it hasn’t earned any of the things it takes without asking, it’s a shallow pretender desperately fumbling in the deep end, and it’s an unfortunate development for a band that used to write dumb, fun songs about girls.

It illuminates very real, very constricting emotions that you know you’ll have to either deal with in true form, or kindle within someone you love upon your own passing.

It all stacks up as an agreeable (not wonderful, definitely not boring) assortment of thumpers.

Spoon’s bravest excursions to date, brilliant and distinct in their own way.

In many ways, this is Delta Machine taken into a more organic direction, offering glimpses of past efforts in the process. The decision to let the songs breathe through airy layers was wise, because you can easily focus on them this way.

Frankly, Mercer’s unfiltered production makes Heartworms an exhausting listen.

NAV is front-to-back one of the blandest takes on the genre so far.

These aren’t the kind of riffs and melodies that will imprint onto my brain the way almost every song from Undoing Ruin or Deliver Us did, but Darkest Hour get a gold star for effort for delivering a strong metalcore record, and more importantly, for pulling off an immensely difficult comeback.

Last Place is a fittingly contented throwback/possible farewell.

By pop standards you could do a lot worse, but ÷ is not an album that will test the ceiling of Sheeran’s tantalizing potential.

In the end, Don’t Get Lost is very enjoyable, yet the main downside is its length.

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.

This is a transitory album true to its name and its concept, illustrating a challenging but ultimately temporary chapter in Silberman’s life. Of course it’s not his best work, but given the obstacles he’s faced, it’s not a bad first step as the world of indie-rock slowly regains one of its most talented and alluring artists.