Producers Wheezy and London on da Track handle most the beats on this freaky and fantastic release.

The EP is a startling introduction to a group unafraid to bring raging paranoia to the dancefloor.

From the lonesome drift of the melodies and the brilliantly rendered dynamics of the performances to the uncluttered detail of the production (by engineer Justin Shane Nace in collaboration with the group), this is a splendid mood piece that excels in concept and execution.

MG is an intriguing diversion that might appeal to Depeche Mode fans who were put off by the pure, minimalist techno of VCMG, and it could also come as a surprise to listeners who aren't DM fans, or haven't kept up with their later work.

More fine than fierce, Fly International Luxurious Art may not be on the man's top shelf, but it's a sturdy and entertaining effort well worth its place in the Chef's catalog.

The stylistic range of Jekyll + Hyde proves that ZBB's reach is almost limitless, and this set will more than likely delight the group's legions of fans.

The album cools down with ambient interlude "Miyajima" and midtempo closer "The Waiting," providing a patient ending to an album that gracefully deals with personal upset and disappointment.

Despite these small tweaks to his established, well-oiled formula, Hypnophobia feels like a natural follow-up to Cabinet, with Gardner not looking to do much of anything new.

The band is undeniably tight and flush with ideas, and Hale is such a force of nature that the occasional foray into AOR snooze-ville can be forgiven.

Despite its many head-bobbing moments, Danger in the Club feels more like two EPs--one that builds on 180's exuberance and one that explores new territory--than a consistent album.

Heirs demonstrates a band that can be articulate without speaking in words, and And So I Watch You from Afar are a smart, inventive group who continue to progress with each visit to the recording studio.

Those who go along with her for the ride will likely connect strongly; Sprinter is not for passive listening.

I Can't Imagine is confident, assured, and fiercely independent.

In the end, Love Songs for Robots is well represented by its title: weird, heartfelt, haunting, stimulating, and unexpectedly sultry; it holds much for humans to appreciate, too.

This more polished and tuneful exercise in modern-day folk-rock is effective and engaging music that speaks from the heart and soul.

Good as his bandmates are, on Can't Forget, Cohen is the star, and he's as strong, as witty, and as willing to lay himself emotionally bare as ever; it's anyone's guess how much longer he intends to keep going, but there's nothing here to suggest he needs or wants to quit now.

They don't appear to be aiming for a masterpiece; instead, they wanted to write some good songs and let them shine in the studio, and on that level, The Traveling Kind is a rousing success and a deeply satisfying work.

As convincing as Welcome Back to Milk's fury is, Du Blonde's rock is no more straightforward than Houghton's version of folk was.

Multi-Love is definitely a departure from his previous work, but he has both the skill and the passion to pull it off. Ironically, where the album stumbles a bit is on the more experimental tracks.

Banditos are one of the most promising roots music discoveries in quite some time, and this album is a genuinely impressive introduction.

Most of the songs on The Traveler pass muster, and a few are excellent, but it's Miller's interaction with Black Prairie that really makes the album work.

Any Prurient release is a demanding listen, but Frozen Niagara Falls is one of his most surprising and rewarding works.

Heydays is a surprisingly mature, accomplished second effort from a group who previously might have been perceived as a joky side project.

Despite being a bit of a downer for some, these qualities and the improvisatory feel of the guitar work as their songs unfold (however well-rehearsed in reality) may well induce engaged and repeat listening, even for the sanguine.

Power in the Blood's stylistic adventure and restless aesthetic spirit are indeed Sainte-Marie's hallmarks. But on their own, musical and sonic diversity do not a fine album make. It takes good songs and inspired performances to balance the equation, and this album has them all.

Odd that "Beautiful Now" goes from horny ("I see what you're wearing/There's nothing beneath it") to Maroon 5-esque (the cloying "ba, ba, ba-ba, bah!" chorus), but otherwise the slick and skillful True Colors is built for fans of Zedd's music rather than his social media followers.

These are candied sonic fantasias, passionate re-creations of the past with no reverence for history, and that divine, stubborn nostalgia fuels English Graffiti, turning it into the Vaccines' best record.

Highlights is a step forward for the band and with a bit of patience, its personality begins to show.