Satin Panthers doesn't contain the most organized or most complete 15 minutes of music in the world, but it's an EP-it's just frenzied enough to provide a taste for an album to come. It might not be vital in itself, but there are enough ideas to show that within the mind of Hudson Mohawke, there is much more where this came from.

It took a lot of experimenting, jamming and digression from its old songwriting techniques for Pepper Rabbit to produce such an enjoyable album.

On Skying, the group has definitely matured, jettisoning much of the divisiveness that marked its brash origins, but it feels like some of the edginess that first made the Horrors notable might've been discarded with it.

It's an album that takes Rogue away from the familiar efforts with Rogue Wave as it harbors eloquent and delicate melodies that pioneer a soft-spoken but and delightful album.

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.

Listening to Quadruple Single is not a passive experience in the least.

Wicked Will offers a sprint through Ettes' tumultuous world, and in the end, the whole ride lasts for little more than half an hour. Oddly, the one emotion that the band avoids-joy-is the one that it leaves you with in its wake.

The band's latest album, Join Us, expresses the group's signature nerd pride with a combination of simplicity and fantasy fit for ex-losers, children and those weird kids in high school.

Perfect Darkness becomes half a dip in lukewarm water, when it should be a moody walk on a cloudy day.

Chillwave touchstones are alive and well on the record; tender, nostalgic vibes still emanate from each throwback synth pad and ethereal two-part harmony, and there's still plenty of reverb to go around.

Krug won't make any new fans with Organ Music, but that's not what he's trying to do here, anyway. He's just having himself some fun-or, as he put it, "lurching toward" his musical ideas "impulsively."

Listen to this album with the volume cranked.

Electronica bands run the risk of entering an ethereal, psychedelic realm and never leaving, but Little Dragon always maintains its tie to the tangible world through Nagano's voice.

2009's Dark Rift had its grating, overarching qualities, but Thee Physical sounds more streamlined; however, this album isn't polished to perfection.

The album is deceptively simple. Upon the first listen, it feels like a collection of fairly commonplace, but good, indie pop tracks that have a strong tendency towards the, well, radical.

Dedication, while a great exercise in atmosphere, doesn't get anywhere past where it started. It begins in gloom and minimal electronics, remains there-hell, it wallows there-and finishes off its life there.

Last Summer sees Friedberger stretching her limbs as a three-dimensional indie darling.

Nothing more than Inglish's beats and Rocks' rapping are needed to prove that When Fish Ride Bicycles was worth the wait.

It seems like in each song Wiley is talking about a million different things all at once, but there's always the possibility that it's totally focused and you're just not keeping up. It's hard to tell.

The lift isn't too high, but the album isn't meant to be a mood elevator. Instead, Pleasure gives you the smoke and confusion that is left when all extrinsic distractions are removed.

This certainly isn't music to hit the beach by, and it's also not as concerned with maximizing texture as chillwave is, creating some of its most intriguing moments with negative space.

The back half meanders through woozy loungers like "Chemtrails" and "Sunday Morning" before wrapping up with the spindly, tom-heavy "Neon Dove," which breathes just enough life into the pacing to make you feel like you've listened to something complete by the time the percussion's abrupt exit signals the record's resolution.

Earth Sound System is structured with actual musical tracks interspersed between organized chaotic electronica. The attempts at the two different approaches to this type of music come off as undecided and incoherent, yet there is merit in the tracks that actually offer stable grounds for musical exploration.

Although some of the sounds used are radically new to the Miracle Fortress repertoire, Was I The Wave? demonstrates the perfect amount of experimentation and development of the band's sound while remaining true to the music of its past.

Black Up is a wild ride, but Butler's songwriting is not haphazard. To be sure, his laid-black flow channels a vibe similar to the who-cares attitude of those on the opposite side of the left-field hip-hop divide, but don't let that fool you; his music is weird, but it's also deliberate.

The songs on Champions might not add up to the best record proper, but those guys in front of the stage probably could care less. They've got some more fuel for the party, and at the end of the day, that's all that really matters.

Even at its most far-out, the songs on Culture Of Fear always seem to know where they're going, even if they choose to take the scenic route to get there.

Where For Emma, Forever Ago thrived on its sparseness, the new record's sound is richly and carefully layered.