Aside from pushy cuts like “95 ‘Til Infinity” and “Amethyst Rockstar,” there are moments when some of the songs on Summer Knights are so uniform that they end up feeling like one exhaustive freestyle with much ado about nothing. But whenever Joey’s delivery gets a little stagnant, he’ll quickly fill a track with a winning bit of introspection and his signature throwback ‘90s flow comes to rescue.

The Flower Lane is a testament to Mondanile's growth as an artist that translates a prolonged history of potential into a complete and well-crafted work.

[A] rock-inspired electro-alien world that Lindstrøm has carefully crafted.

LV's skill and savvy when it comes to crafting spotlight-gobbling beats presents the biggest drawback for the album in that it's disappointing that there's not one instrumental number on Sebenza.

As convoluted as it may seem at first, there is merit to the deranged genius of Ariel Pink.

Enough of the sticky, fuzzy guitar rush remains (“Middle Sea”), though often only sneaking in and out of songs. Overall, the band continues towards an unfussy clarity to the instrumentation.

This album isn't going to isolate fans of Okkervil's older material, but it is going to require an acceptance that change has arrived.

If you're not paying attention, it becomes tough to tell if you've been listening to one really long song or three separate ones.

The years spent pursuing other musical projects refreshed Bloc Party, and the unofficial reunion record finds the band making an intense comeback.

Bursting Visions can at times feel like a record that emphasizes quantity over quality. Then again, this also makes it easy for pretty much everyone to find at least one song they like.

The Moon Rang Like A Bell is both subtly understated and completely overstated.

Now that Barrett’s had a solid touring duo together for awhile, and they’ve got a couple albums under their studded leather belt, the duo (Len Clark on skins) has that feeling of an act at its third album phase: assured, strong, but teetering on a decision to leave its comfort zone or not.

The overall feeling of the record is dark, but tracks like "Hector" and "Blank Maps" offer a bit of light.

The album’s strongest moments come when Felice settles on his deep, lush baritone and considers using it in favor of poetic lyrics or complex instrumentation.

Twin Sister has a sound, a well-produced, dreamy, indie synth-pop, slightly funky sound, and In Heaven sees the band blend teaspoons of different genres into that mix.

The brooding album is one for self-reflection on those winter nights when you want to be alone with your thoughts. This is great in its own right, but for the next album, the group might want to let a little more light in as well.

Although Joke In The Hole is an enjoyable listen, it’s by no means an easy one.

Towards the end of the album, tracks tend to blend into each other. Jesus definitely continues to push what she's good at, but this doesn't make for much variety.

This is a solid debut for the highly anticipated band.

Even though After The Disco lacks some boldness and experimentation, the record most definitely has its strong moments and, like its predecessor, it’ll please fans from either party who will most likely feel content from the first listen.

Neatly countering the initial pedal-to-the-metal energy of "My Girl," "Sweet Dee" is a slow-burning sunset cruise that makes Tiger Talk's destination entirely worth the somewhat familiar journey.

While it is nice to see MNDR's vulnerable side on slower tracks like "Stay" and "Blue Jean Youth," she is at her best with tracks that keep you moving like "Faster Horses," "Fall In Love With The Enemy" and "U.B.C.L."

Earth Sound System is structured with actual musical tracks interspersed between organized chaotic electronica. The attempts at the two different approaches to this type of music come off as undecided and incoherent, yet there is merit in the tracks that actually offer stable grounds for musical exploration.

The album has an easy-going pace to it, opening up a little more with each graceful transition and quiet revelation.

Float through this album right when you wake up or right before you go to sleep. Either way, it’ll calm you down and make you think.

The album churns away on a mid-tempo path throughout, ethereal harmonies skimming past and back to Adebimpe’s yearning lead vocals being the main thread through it.

Having spent so much time racing from one experiment to the next, it’s fun to hear the band settle in and take stock in its own legacy.

Like many psych-heavy records today, the album doesn’t say much lyrically. The lack of deep lyrical content is an easy detail to overlook due to Pond’s complex execution of instrumentation.