Hot Chip has written an album that touches the many feelings on the spectrum of love, while staying true to the humorous and entertaining musical idiosyncrasies that the band has enlisted for the better part of a decade.

It will give you, near exactly, what you put into it. That’s what makes Nepenthe relevant: its masterfully complex compositions come across as simplistic; they’re accessibly intellectual.

The rest of the album holds up to the single's brilliance, as Bundick traverses quite a few genres-from his trademark chillwave, to acoustic dream-pop ("Before I'm Done") and severe piano-led ballads ("Good Hold").

Despite these retro touches, there’s something modern about the album’s ability to shrug off heartbreak, to grab victory from the jaws of defeat and then kick defeat in the jaw for being such a dick.

There’s a sense of maturity and control present, without losing their trademark edge.

Overall, it's a solid, well-crafted effort from a well-loved indie-folk band.

The band’s tendency to venture into festival-ready rhythms and guitar noodling has remained an integral constant on their releases. With Light And With Love is no exception, but it also finds the band exercising their unique roots-pop expertise to an even deeper effect than before.

While the new record represents a considerable leap in ambition, it retains the hand-made, intensely personal quality that defined Crutchfield’s earlier work.

Much like the disordered thought patterns that come before sleep, dream-like backing vocals and twangy instrumentals transport us into another reality.

My Night, My Time is a pop album that’s offbeat in its self-awareness and on point with the steep hooks and expansive beats that make pop music pop.

Black Metal is Blunt’s most realized work yet, but it’s still shrouded in mystery. There’s no reason for that to change, and there’s not even a hint here that Blunt is anywhere near ready to fold.

If there’s something holding the album back, it’s that the band is almost too efficient and unforgiving in its editorial choices.

It’s not that Schoolboy Q is the best lyricist; and there’s not an immediately profound life lesson here; there are no mind-boggling internal rhymes; but Oxymoron is amazing mostly because it attempts to heal past bruises with more bruises. Schoolboy hides nothing and everything leaves a mark.

Some tracks are wildly successful on an individual basis, but they're cut short or steamrolled right over as Riggins whips through what seems like every sonic concept he's had in the last two decades.

Bright And Vivid takes enough elements from both Calder's debut, Are You My Mother?, and her work as part of the New Pornographers to retain its very Calder-ness, while still evolving into a robust folk-pop record.

By teaming up with the visionary mastermind Adrian Younge he’s created an inventive and thrilling album that will go down as one of his best.

Other Worlds doesn't get overtly weird, but it's surely expansive-sounding.

These songs are Polaroid snapshots of friends, families, lovers, cul-de-sacs and empty highways. Some are perfectly, sentimentally fuzzy, and some don’t quite make it into the scrapbook.

Mainly, the band locks into grooves and reigns in some of the cackle of earlier releases, while wisely drunk-dancing in the under-four-minute mode.

On the whole, So It Goes covers a wide range of ground musically, sometimes making it hard to comprehend as a cohesive piece in its entirety. By doing so however, Ratking has made a rap album that is truly fitting for the modern New York.

The Silver Gymnasium has Sheff getting increasingly personal, though it sometimes seems as if he has no more personal secrets left to reveal. The new experience is stunted by the fact that everything really just sounds like a memory.

This time around, the specifics are there. And though each isolated moment may not be immediately relatable, they create a universal portrait of our struggle with the loss of youth and the arduous task of soldiering forward while a part of us grasps for those milestones of the past.

Killer Mike gets the most quotable lines, turning simple statements into punchlines and investing each syllable with a sense of rhythmic possibility; you’re never sure exactly which word in a given line he might decide to pluck like a stray beard hair.... Despite abandoning some of the more layered and mannered production flourishes of his solo work, El-P still packs these songs with stray details--the roar of a tiger, those gorgeous organs, the squeal of a dolphin--that can be jarring on first listen but gradually reveal themselves to be essential.

From the first drum hits and piano chords of the opening title track, it's evident that this is a match made in black-light heaven.

Wagner has poured her soul into recordings that may seem too mature for the 23-year-old but highlight the talent that Wagner has at communicating difficult subjects with ease and forming truly compelling songs.

Much as it is a thrash-and-burn album, the self-titled release also hints at subtly sensitive undertones.

With all its messy emotions, unfiltered memories and contradicting revelations, Anxiety shows that it’s not only possible to write a self-conscious record without the protective shield of anonymity, it can be just as thrilling.

It will take repeat listening to capture the total gist of the record, as well as digging into McCombs' back catalog to get the whole story.