Adrian Younge Presents takes familiar genre signifiers and scrambles them within a less rigid context.
Michel Gondry’s film is a delirious representation of incipient personalities in bloom.
Rubberneck takes on high-concept ideas that it can’t sustain, and which only make its other problems more obvious.
Miss Lovely envisions a world in which Hollywood glamour has been passed through a filter of grime and decay.
Somewhere Else is stocked with the same type of wispy bedroom electronica that defined the duo’s two previous albums.
Holy Fire is a stern reminder that Foals were never exactly subtle in the first place.
Richard’s Goldenheart plays out on the drippier side of the post-breakup spectrum.
Long. Live. A$AP is an intermittently dazzling collection of slinky, mutated R&B helmed by an unsteady, half-interested voice.
Terius Nash highlights an artist who, even when not at his best, is capable of something approaching greatness.
This Is 40 is frequently funny, but those laughs are just the highlights of a deadening parade of similarly toned jokes.
Chief Keef is coarse, cold, and lusterless, special only for his extreme embodiment of such qualities.
Bish Bosch is the work of a committed artist delving further into a land of vaguely sketched nightmares.
Wu-Block is a low-impact collaboration between two like-minded jesters.
A crude love story about humans, animals, and the scant qualities separating the two.
Lux functions as a welcome excuse for half-occupied reflection.
Paradise is more a summary of Del Rey’s persona than an attempt at developing it.
III is an album of earnest, expansive electronica from a duo few are expecting such sincerity from.
Hong Sang-soo’s latest is another austerely amusing study of hopeless neurotics making a mockery of leisure.
Dreams and Nightmares delivers a few standout tracks and a ringing confirmation of Meek Mill’s skills.
Titus Andronicus’s chaotic, chockablock presentation gets scaled back on Local Business.