What drew people to Tuttle's music to begin with was that delightfully dissonant combination of sweet singing and monster-shredder guitar playing, and that's just not what this album delivers.

While there's room to reflect on things like dynamics and vocal mixing (Perry's ancient cackle sometimes gets blurred, patios aside), and while Perry is one of the best mixologists in history, Must Be Free is not his best.

Innocents contains some great vocal performances and catchy hooks, and despite the tent ropes being held down by the weight of mediocrity, it'll please many Play-era Moby fans and radio listeners as ideal background music for patio conversations about how their stocks are performing.

Antemasque isn't quite the return to form that fans of ATDI and Mars Volta might be expecting. As far as fresh starts go, however, it's a promising one.

While the half-tempo sections and increasingly unique guitar solos differentiate this material from that of the past, Everblack ultimately falls under the shadow of its predecessor.

Thanks to the lack of coherence or variety though, nothing on Die Lit really sticks. It's fun enough but, save for a few keepers, has the lifespan of a mayfly. Rock to it for the summer and forget most of it by September.

First Ditch Effort doesn't match NOFX's '90s peak, but it rights the ship somewhat, and goes a long way to re-establishing the group as worthy and relevant elder statesmen.

Despite its "six years in the making" descriptor, Allegiance and Conviction feels more like an EP of collected experiments toward a new, more realized work. A satisfying stop along the way to the main attraction.

Nothing on Breakin' Point really hits as hard as their earlier work. Peter Bjorn and John are having fun on this album, but occasionally get a little lost in the dance moves.

Encyclopedia finds the Drums throwing everything at the wall, seeing what sticks, and then releasing the results as an album.

Where it stumbles as a concept record, it only sometimes succeeds as an art-rock record. As it turns out, an important idea does not an important album make.

It's all a tad by the book, but the book is well loved and worth re-reading, so why not?

There's enough here to satiate fans--"I Don't Like Who I Was Then" is as good as their best work--but there's an underlying sense that for the first time, the Wonder Years have missed the mark.

For a band that's spun fanciful yarns from the farthest reaches of time and space and the inner recesses of their own minds, this grounded perspective could be another interesting change of direction. But for now, it feels more like a retreat.

Stalley showcases eclectic strengths on this release, but focus certainly isn't one of them.

On Visibility is a Trap, Dalhous deliver another handful of terrific dark ambient music that will hopefully give way to braver, newer waves.

This is a collection of songs that wink at what previously made this band great and hint at some interesting paths forward, but ultimately declare that BNL have simply become unrequired listening.

Tory Lanez manages to inject Memories Don't Die with a few quality tracks, but overall it misses the mark on classic appeal.

At its worst, the effect is soporific, but if you're looking for a comforting, cushiony soundscape, Cala is good company. It's when Regan opts for crisper, more invigorated sounds, though, that the album really shines.

The stuffed effort could be Lil Baby's attempt to showcase his growth. But one mark of artistic maturity is exercising restraint — less is often more.

The result is a fine record, but one that ultimately fails to leave a mark.

Despite their proficiency, the Messthetics' individual talents don't entirely gel as an ensemble yet. Their debut is flashy, but it won't bring them out of the shadow of Canty and Lally's more famous projects.

Rival Sons are a great band with a great sound; the only thing they're guilty of is doing what they do really well, but then exhausting it over and over again.

While these eight tracks rarely involve an epiphany either narratively or musically, their anecdotal nature is a reminder that not every story has an ending, and that the memories that stick with us are often the ones we don't fully understand.

On Electric Lines, Joe Goddard shoots for something eclectic and exciting, but settles for something sporadically enjoyable at best.

The record packs familiar Function trademarks--industrial themes, hissing white noise, acid loops and retro rhythms--but the ideas fall short of reinvigorating the legacy established after Sandwell Disctrict's full-length, Feed Forward, landed in 2010.

Although Simian Mobile Disco have the ability to give each track its own distinct personality, Live is a mere curiosity for even the most refined technocrats.

What we get on Psychedelic Pill are stream-of-consciousness attempts ("Driftin' Back"), along with musings on the grim reality of old age ("Ramada Inn") and the regrets that come with it ("Walk Like A Giant").