Most of VII: Sturm und Drang is devoted to Lamb of God's merciless three-guitar attacks.
Star Wars is by far the noisiest and most adventurous Wilco album in over a decade.
Although Currents is, in many ways, a showcase of difference, Tame Impala also toys with repetition as a unifying theme.
With Born in the Echoes, the Chemical Brothers follow their muse and just bang.
Something More Than Free, retains Southeastern's intimate acoustic-based feel and heavyhearted lyrical matter.
The ornamental bluster of Refused's Freedom masks a basic tunelessness.
Wildheart communicates the realities of an ever-more-fractured sexual landscape by dancing between extremes of light and dark.
Little Boots's third album, Working Girl, is, much like its predecessor, a more sonically focused effort.
With Deja vu, Giorgio Moroder rips a page right out of the Calvin Harris/David Guetta/Steve Aoki playbook.
Pageant Material is a laidback, if melodically impeccable, set that makes subtle strides in developing Kacey Musgraves's sound.
Moonbuilding 2703 AD is the Orb's most cohesive work in ages.
While Young's anger and focus are admirable, The Monsanto Years doesn't come anywhere close to matching his passion.
Though it lacks the career-spanning sprawl, Ten Songs from Live at Carnegie Hall still captures the essence of the full version of the album.
Everything Is 4 recalibrates a bit, updating Derulo's sound to current trends with 11 precision-tooled three-minute-and-change pop songs.
Sun Kil Moon's Universal Themes is like a diary with pages that are still blank and need to be filled up.
Ratchet attempts to reconcile Shamir the Internet Phenomenon with Shamir the Artist.
Absent the lightning-in-a-bottle voltage of their heyday, Faith No More's Sol Invictus is shockingly no more than adequate.
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