This EP, while a little inconsistent with the “usual” sound that a club record should have, speaks volumes of the deftness that Halo possesses.

After The End is a damn good pop album, and it’s not concerned with where it fits in the world.

The group has not only improved on the directness of their music, but this album flows in a more continuous stream than their previous effort.

Their latest album, Voices, showcases more maturity and focus than their previous work.

To match the classier trappings, Bronson puts on a slightly more professional showing--gone are the botched lines, the charming flubs and the repetitive stalling of Chips--and, for the most part, he pulls it off with style and grace.

Blake and Childs have no need to prove why they're considered some of the U.K.'s best songwriters and musicians, but Jonny does just that.

The entirety of No Ghost is filled with poetic verses about the usual triumphs and failures of love, and taken together amounts to an emotionally mature piece of work with a healthy amount of upbeat, exciting tracks to go with it.

What the album seems to lack in originality, it makes up for in classic rock 'n' roll sensibility.

As a debut album, Eagulls proves that this band has tremendous potential.

On False Priest, Brion drastically widens the canvas, giving the music a newfound clarity, symphonic sweep and thick low-end.

Powers is going all in on this one, inviting you into his Wondrous Bughouse and daring to pour light into an often dark place.

The album lags a bit on a few songs where it sounds like one half of the group had the majority of the say during the writing process. These instances are few and far between though, leaving the rest of the album as an intriguing concoction of two bands coming from polar opposite sides of the musical spectrum and meeting in the middle to make something new.

Certain moments, like the opening and closing tracks, reach a little further past doo-woppish hippie funk into Ravi Shankar super-hippie sitar and ambient electro, suggesting a potential for experimentation in the second year of the Stepkids' existence.

Sun Airway may be losing some of its psychedelic characteristics that attracted many of its original fans, but the new sounds allow its lyrical creativity and musical experimentation to grow without confinement.

Strange Weekend takes on the lofty task of musical multitasking and succeeds.

Putrifiers II is not the masterpiece TOS fans may have been hoping for. But it is another piece that let's Thee Oh Sees maintain the role of reigning masters.

The emotive howls of their pub rock provide catchy blasts of energy that are more familiar than groundbreaking but who’s quality should not be discounted for failing to meet the hyperbole that preceded them.

The past four albums have focused mainly on the singer/songwriter. On Tripper, Johnson turns that formula around and focuses everything outward-the lyrical themes, the more-involved instrumentation and the mood.

Having spent so much time racing from one experiment to the next, it’s fun to hear the band settle in and take stock in its own legacy.

Musically the album is a quick burst of 11 bubbly songs that never take a dark turn or venture into a minor key.

It’s an admiringly unorganized attempt at turning it up to 11, where both digits are represented by a middle finger.

The album has an easy-going pace to it, opening up a little more with each graceful transition and quiet revelation.

The tracks are truly hidden gems, kept from mass appraisal via DIY distribution methods in the '80s, home-recorded cassettes and vinyl. Vasicka and Peanut Butter Wolf's efforts here revive and catalog some truly infectious would-be synth classics.

But because of its uneven idiosyncrasies and its cheeky self-flagellation, At Best Cuckhold sounds like Avi Buffalo’s coming of age story.

The vision of Southern California terrain Barfod molds in Salton Sea seems strangely undead and haunting even at its most jubilant moments, creating a chilling sense of something epic and part-human.

What makes Paracosm unique from Greene’s previous endeavors is that Paracosm is like the voice of John in Aldous Huxley’s Brave New World, asking for balance in a world inundated by the synthetic. It gives us a little breathing room from all the heavy drops and synth-pop without totally giving the technological age the slip.

The album, titled Grace/Confusion, offers the chillwave sound that Hawk is known for but with a fuller, crisper and more melodic take.

Instinct is an electro-pop album, but it's got that New Order-style darkness that gives it a comforting weight; this is that kind of bummer music that will make you dance.