The entire album seems either completely uninspired or absolutely rushed.

While Sally Shapiro (the duo) take some much-appreciated baby steps towards new sounds on Somewhere Else, Sally Shapiro the frontwoman remains just as stuck in unrequited love as ever, and the music that supports her is no less bouncy or plasticine as her previous stuff.

On the heels of the brilliant My Beautiful Dark Twisted Fantasy and the misunderstood Recovery Minaj follows in style by putting out an album interested in both hip hop and music that simply sounds great.

The result is an album that is still adrift at sea, unaware of the musical landscape around them.

While Strange Dance is a rather nocturnal album, those broad and distant lyrics, aided by the atmospheric yet intricate instrumentation, mean there are many more moods and times that it can fit.

It is arguably his most sonically interesting and personal project so far, but its inconsistency punches a few pot-holes in the listening journey. The experimentation here doesn’t always work, but when it does, it shows that Post is heading in some exciting directions for future albums.

In Sickness & In Flames is one of The Front Bottoms’ most interesting records to date; it’s completely them – and obviously so – yet they change just enough to keep you guessing without alienation.

Even if it isn't quite as organically endearing as their past work, Dracula successfully retains the same sensational personality that's made them such a must-hear act.

Ternion is a greatly entertaining album with plenty of replay value, especially in those stand out tracks.

As an album, it's ultimately too bogged down by its professionalism and erraticism to come together very well.

The finished product sounds like a work in progress, which is cool, but here's to hoping that Blunt and Copeland will improve the production quality and fully realize their genrebending sketches next time around.

Cruel Summer might be the worst thing in Kanye West's discography thus far, but it's a success as mainstream rap cabal compilation albums go.

It doesn’t always work as well as an album, but folks will still look back and remember the time Cummings spent everything, went all in, and became Ramona.

Four sounds like an album created by a talented band that finally got back in a room together after a long time apart, and just seemed to put together all the various ideas they've all had without stopping to think too much about them.

As a stepping stone forward and backward, No Elephants preserves her musical legacy while subtly altering her own approach to these sounds.

Nadja have often been a band who have played with aural textures, with the light and shade of sound, and have the rare ability to allow the listener to lose track of time as they fall into the music. Luminous Rot is no different and is up there with their best work.

Like Silica Gel, Sushi isn't a bad album; it's just disappointingly mediocre, and I expect better than that from the psychedelic underground's clown prince of Cool Runnings and backseat-of-grandma's-Oldsmobile Top-40 jams.

Talent, when taken as a whole unit, functions exceedingly well as an album to scratch your daily dream pop itch, but when you try to take it as anything more than that it suffers.

Crawling Up The Stairs should be praised not only for its beauty, honesty and sonic specialty, but also for the way it’s sequenced.

Time and time again The Luyas set themselves up in a soft kraut-like groove and fail to progress the song into something different, allowing it to fizzle out after four or five minutes.

Essentially, Aimlessness is a jovial affair that promises more in its first half than it can deliver in its second.

It would seem then that Let Her Burn is Rebecca Black just flying overhead instead of victoriously soaring above the ashes.

It does not at all feel lazy, rather a conscious effort to do something new. Five Easy Hot Dogs is an incredibly addictive record that entices with its lightheartedness and almost weightlessness, which is aided by the absence of vocals and lyrics.

While Comedown Machine drags itself through a number of dead zones (most notably the dud pair of the title track and “50 50”), there are moments where they recapture some of what made them a great band.

These three tracks ["A Broken Heart," "Lysandre," and "Everywhere You Knew"] function as everything Owens could have dreamed this first solo effort to be. But the rest of the album, which aims for similar points of emotional cohesiveness, but due to some ham-fisted instrumental choices, the message can become muddled.

Each one is solid, and some of the vocal samples allow him to showcase the stilted sort of sense of humor that's constantly on display in his Twitter feed.

The record is 15 short vignettes about lost, unattainable, suboptimal, or just plain impossible love, and The Fields nail each and every one.

Gloria is a frequently satisfying yet uneven statement of self-love and confidence that heralds a new era, both musically and personally, for Sam who proves that it is just as equally an act of vulnerability to show your happiness, as it is your sadness.