Loom becomes tiresome as it reaches its second half, and the lack of lyrical clarity, though sincere in execution, balances poorly against the powerful instrumentation.

It’s difficult to avoid making repeated comparisons to Antipodes, but despite the differences in the sounds between the two LPs, the quality and strength of them is the same.

This is by and large a record that moves at its own pace, and a calm one at that.

The album isn’t without its faults--its probably too long, and though the production may differ from other albums, it blurs together somewhat over the course of the album. However, there’s one song on this album that renders all such complaints irrelevant--the title track. None Shall Pass is undoubtedly one of the best things Aesop has ever done

The result is a tighter and more collaborative sounding effort, and it shows throughout the album from the taught disco-funk of Telephone to the sunny and joyous brass-driven lead single U'huh.

While it undoubtedly holds some of the strongest songs of his career, it doesn’t entirely fulfill the promise of a conceptual framework.

After The End is a self-proclaimed pop record with lofty ambitions, after all, and their commitment to a broader aesthetic feels earned and vital.

Taken as a whole, The Soft Pack isn’t exceptionally challenging or memorable, though it does leave space to appreciate a few of its singles.

Operator is a very good debut, impressively original without becoming too inaccessible, and the debut single that dropped three years ago sounds as fresh and as authentic as it ever did.

The good news, at least, is that Phantogram have made a solid album. The bad news is that it spans across their two LPs with plenty of forgettable filler in between.

Whirr crafts their own mold out of their influences, and, with an effort that feels grand and mesmerizing as it does dreary and bleak, Around hits the nail on the head and all those long lost sentiments of not having a shoegaze band to get behind seem to dissipate.

Green continues to take us on a steady ride on Fragments.

Dum Dum Girls have graduated from a class of reverb junkies to becoming potentially one of the most potent and distinct pop bands of our time. End of Daze is on a separate level of artistic creativity and economy.

This album displays the band at an absolute low-point in their career.

When it's done well, with diverse influences blended together, it's so easy to like if not love, and as such Get Back instantly feels like a long lost friend.

Her ability on both sides of the mixing deck is on full display throughout Losing, and her latest work strengthens her case as a supremely talented songwriter and producer.

Established fans may have a problem with the ADHD style of Junior, and the album does raise some questions: is it better to be great at one thing or good several things? If you are a well-versed fan of electronica and you know what you like, then this album might not be for you.

They sure had the knack to look through the lens of their younger selves, which makes one think whether keeping it sweet and snappy would’ve suited them better. Regardless of their intent to reach out of their limit, there are bursts of inventiveness in Trouble that make the risk taking worthwhile.

Although it may not sound as groundbreaking as its predecessor, Little Red’s introspection-on-the-dancefloor theme is fascinating enough to sustain multiple records.

What the lyrics lack (and they certainly aren’t bad by any stretch--simply not particularly strong), the vocals mask.

He's given us a lot to unpick, even if the record isn't as cohesive as it ought to be.

They're good but not excellent; they have brilliant songwriting over mediocre melodies and the old-newness becomes old again quickly. Five. Right smack dab in the middle of nothing and everything.

It's a testament to their ingenious crafting of familiar sounds that we hear the musical reference points in each of these songs without feeling cheated by the fact that we can pinpoint precisely who they sound like at any given moment.

'One More Time With Feeling's' dynamics shift and her lyrics are vague, but carry a heartfelt sentiment. Far has too little of this and winds up being a mixed bag.

Carter’s default psyche is an afflicted one, and his lyrics commenting on the migrant crisis typically don't pull any punches. On the other hand, his first steps into a more ornate sound on Neon Rust is a welcome change.

Underwhelming ending aside, it’s fair to say that Del Rey (and her collaborators) have more than risen to the challenge of keeping her a part of the pop culture conversation, for all the right reasons.

Some come-backs are fraught with danger, both commercial and artistic. This one is entirely justified.

It achieves a good and meticulously contrived balance that will continue to satisfy the Brooklyn insomniacs, but rarely does it risk doing more.