Although the majority of the record is devoted more to synths and vocals than to beats and bass, the sound of Personality speaks loud and clear.

Sonically, it's on par with the rest of his discography: meaty instrumentation, multi-layered vocals, winks and smirks.

Jonquil excels at frolicking, but the band can also play it more subdued.

Like the cosmos itself, Interstellar is a grower.

This is a record that reminds us of one of music's most overlooked, modest--but perhaps, most sensible--aesthetic couplings.

Grimes has come into a cleaner, more distinct version of her IDM self, albeit one still influenced by Aphex Twin, TLC and Enya.

I Am Gemini marks a brave and experimental turn in a new direction, but at the same time it's a nod to the old-in the best and least wallowing way.

Not every song/experiment sticks, but there's enough sheer courage and musical inventiveness to merit back-to-back listens (and alienate swaths of hip-hop purists).

Through the clever synchronization of spaced-out vocals and rambling drums, Poliça dispels psychological trauma in an easy-to-swallow, electro-pop pill.

Young And Old is a confident, solid indie pop album that builds on the band's previous sound.

[A] rock-inspired electro-alien world that Lindstrøm has carefully crafted.

In an increasingly bleak post-recession climate, jagged and somber post-punk seems a rather fitting lens, and Prinzhorn Dance School has mastered its execution.

The simplicity of the instrumentation is what perfects the record.

Paralytic Stalks isn't an Of Montreal album stuffed with steakhouse jingles. But therein lies the charm.

Every track on Tramp provides a singularly rewarding experience in one way or another. Only the album's pacing weakens its impact as a whole.

The guys are able to transform the tangible aspects of their journey into sounds that turn the listening experience into a traveling experience.

A clean, laid-back production and ambitious lyrical themes.

This urgent need to resist easy classifications can make the album difficult and obtuse at times, but the rewards are plentiful.

The Horror is a highly effective album because of how its sense of doom infects you.

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

The music is unlike anything Cloud Nothings has done before, and that's a good thing.

Some of the best parts of The Lion's Roar are when the Söderbergs harmonize together.

The results of these bursts of levity are as stark as Quran verses scrawled on Vegas brothel walls and recall why Sumach Ecks remains a rare, unsettling voice.

It's a brand of nostalgia concocted from listless energy, a wandering jumble of drums, soothing, eyes-closed croons, sighs and elastic vocals that recall different influences at every turn.

The Big Pink has put out an electro-rock album that does not exactly redefine the future of music like the album title may suggest, but it does redefine the Big Pink.

Though Le Bon composes in the dark, she shows us a lighter, quirkier side in CYRK.

There's a lot to enjoy in the Gringos' second effort, but mostly if your musical tastes never got past 1969.

Spectrals' debut is mellow and accessible without being boring even though it has less fuzz than fans might be used to.