CSP original tracks like "Mean Visa Kmean Bai (Have Visa, No Have Rice)" are a testament to the groovy (and peaceful) "golden age" of Khmer pop.

It's no-bull, gritty hip-hop for hip-hop's sake, forgoing radio-friendly hooks or overly flashy production in favor of inspired storytelling and colorful slang.

No Kings provides a kind of artistic oasis, a glimpse into how great hip-hop can be when placed in talented hands.

His song progression is static, manic and as mutely thrilling as ever.

Freeclouds seems to be a culmination of many different ideas and styles all brought together in one album, and this diversity of sound is exactly what makes the album work so well.

It's too cavernous and intangible to dance to but too wired for relaxation.

Happy, nature-oriented psychedelic pop that bring to mind images of sprawling meadows in mid-summer.

You may categorize An Album By Korallreven as background music. That's by no means a bad thing-if anything, such a distinction solidifies this album as an intense experience: a wintry escape to the wilderness with a slight detour to the dance floor along the way.

Carrion Crawler/The Dream could very well be born from a desire to please crowds as easily as it could be Dwyer wanting to craft jams as musical meditation.

Where the Beets lacks flair in its musicianship, the players make up for it in their singing.

They haven't lost a bit of the cheeky lyrics and determined instrumentals that made them who they were; they've just tweaked it all to suit who they are now.

The album's tight production will draw you in and leave you dancing damp from sweat until the early hours of the morning.

On the album as a whole, the guitar riffs are what stand out the most from the thrashing drums and growling vocals.

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.

The songs feel like the first days of fall, where you're clinging to that last bit of summer warmth while eagerly anticipating the slower pace of a city being cooled.

Kinshasa One Two's myriad of styles and motley participants never cease to criss-cross and collide, sublimely blending earthy tones with sleek production maneuvers to create one of the year's most unique records.

An audacious compilation of carefully arranged instrumentals under reflective lyrics.

Sankey and Warmsley still have a lot to offer on Welcome To Condale, with Sankey's large vocal range that easily adapts to the feel of each song and Warmsley's ability to match her perfectly in background singing.

An hour-long exploration of the group's first full-length work that is every bit as diverse as the artists chosen to work on it and as iron-dense and deeply bassocentric as the original.

Deer Tick shows off a level of versatility on Divine Providence, making for a record that will please long-time fans and newcomers alike.

Though taken individually some tracks may have a strikingly similar feel with a lot of big, synthy crescendos, it's the cohesion of the release that makes it work in the "epic" way that Gonzalez envisioned it.

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.

Jarvis finds his stride when singing about the uncomfortable.

The instrumentation on each song, though, is rich and brooding, weaving a distinguishable sound that suitably ties Apokalypsis together.

A few listens into Gauntlet Hair and its charms start to coalesce.

This is a solid debut for the highly anticipated band.

Ultimately, under the unifying sound of Casiokids' youthful pop, African, Asian and Norweigan influences combine in blissful harmony to create the ultimate musical expedition.

Still Corners' debut is full of the deceptively simple and the intriguingly confusing without straying far from its cinematic sound.