Absolutely perfect, sun-soaked pop.

Make Believe takes the listener from the same point A to point B as Santogold, but has no qualms about taking a completely different route, which is both more scenic and more difficult, but ultimately feels more fulfilling.

It can become background music all too easily: while Silver's work will always have a degree of ambience to it, Exercises can completely disappear from your consciousness if you don't pay enough attention, especially during the last few tracks.

Allo Darlin' makes this leap on Europe, resulting in an album that is subtly ambitious and surprisingly rewarding.

Splazsh's followup simply doesn't hold the same tension or drive.

Keepers of the Light is as much of a singular expression of the hardcore continuum as it is an exploration of it, but maybe the best way to soak in its two and half hours is as a richly constructed sound world unto itself.

As compelling as their musicianship may be conceptually, it rarely goes the distance on Remembrance of Things to Come.

Despite a couple speed bumps, Dross Glop is as solid of a collaborative remix album as you're going to find.

This album will make for a perfectly amicable spring soundtrack, but in terms of a long-term shelf life it's be hard to imagine Candy Salad making it through the sweat and debauchery of the summer festival circuit in one relevant piece.

Two of the more prolific musicians of our time have come together to put out eight interesting tracks.

People shouldn't expect a "completely Dr. John" record, but there is a lot to enjoy from the simplicity and overall throwback feel to Locked Down that provides a positive and hopeful experience.

It's an album that continues to unpack itself after half a dozen listens--as beautiful as it is detailed.

It's not quite a masterpiece, but its successes are both grand and numerous enough to suggest that the next time Chromatics come around, they'll likely be delivering one.

Blunderbuss is a quiet album that that doesn't yearn, instead unfolding slowly, from an artist known for his stark music and desperately longing lyrics.

Much like their genre, Clock Opera's music is nothing new, but has charming roots.

The recycling of sounds from past eras of music has become a huge trend over the past few years, but when those sounds are successfully appropriated in new ways, like they are here, the result proves to be very worthwhile.

It's all dizzying and overwhelming, but the sheer brute strength of The Money Store stays tempered by a pervasive, unbridled sense of creativity.

Iradelphic is the sound of an artist who already had a trademark sound coming into his own while still breaking out of his crackly IDM shell.

There's nothing bad about it--at all--but considering how much work seems to have gone into it, it should feel that bit more captivating.

Everything on 151a is mixed so that every sound is waiting to be heard. Every cherished moment is ready and waiting for you to hear it.

For the many Heartbreaking Bravery will help rekindle an interest in Krug once more.

As it stands, Beak & Claw gets an A for effort but considerably lower marks for execution.

Though Mr. Impossible is their most accessible work to date, it's still unmistakably Black Dice.

Instead of charm you've got big dramatic gestures at every turn.

They sound like too much like themselves and too much like the others, and even if you discount the pinpoint instrumentation, it's depressingly calculated.

God's Father is nearly two hours long, and it's actually good.

While it's not as subtle or as elegantly constructed as Beast Rest Forth Mouth, this record has a kineticism and momentum that Beast lacked.

Ripe for radio play it may never see, Spine Hits is a neutral but enjoyable record for the impending days of sun and so-what.