The tracks are far from filler; they're a revealing look at where the band find themselves creatively at the moment.

Saturday Night is a confident debut from a creator who's best when he seems uncomfortable. So long as he keeps evading his comfort zone, Darcy's songwriting should remain potent for years to come.

Overall, Cosmic Wind is free of obvious flaws. But while it's a pleasant album, there's no song distinct enough to elevate it from passive listening.

Poemss plays like a journey, musically, but it's a journey of discovery and boundaries as the two differing producers find their common ground, a process you can hear throughout the album.

Overall, Vol.1 is a satisfying snapshot of a label that does a very specific sound very, very well.

Smith is vague about where he lands on his quest for contentment, but Where’s My Utopia? manages the old trick of making the personal universal, while hanging on to the righteous fun that drew so many in in the first place.

Eleki and psych rock appear to not be enough for the seven-piece's voracious and diverse musical appetites, and Shirushi offers many directions from which the band could reasonably choose.

It is a well-conceived and delivered piece of work, but perhaps unavoidably one that feels the absence of its staged elements.

Approaching this project as a commissioned artist would, Jon Hopkins' Late Night Tales feels more like a narrative than it does a simple mixtape.

Through the Window might finally allow Fernow's critics to move past the "noise" label, because in his mind, he's been beyond that for years.

With Junk, Gonzalez has taken M83 into a whole new galaxy that is just as ambitious and starry-eyed as everything that came before it.

One of the only drawbacks is a lack of memorable hooks from otherwise outstanding vocalist Christine Davis, but the vibe of this album is more than strong enough to warrant a proper listen.

Changes isn't the most complex album King Gizzard & the Lizard Wizard have ever made, but it's been gestating in the backs of the member's minds for years, and feels oddly representative of everything they do well. Whether you're a true Gizz-head or just dipping your toes into their psychedelic swamp for the first time, it's worth a listen.

Given that the chillwave craze only lasted a year or two, this is another solid outing from an artist who has turned a flash-in-the-pan trend into a deep discography.

As their past few LPs suffered from a bout of structural sameness, Wham! Bang! Pow! Let's Rock Out! contains just enough musical and lyrical variety to place it amongst Art Brut's finest work.

Oneiric Formulary may lack overall thematic consistency, and could benefit from Bishop letting loose a little more, but it's satisfying to hear a master of his craft putting his own stamp on some timeless sounds.

There's plenty to bliss out on here and Holy Wave prove strongest when they focus on the emotional core of their songs as much as on the waves of sonic exploration.

Between Fox at this most stripped back and Fox at his most ornate are "Vedana," "Arising and Passing" and "Parasthesia," which mostly eschew the stream of consciousness rhythms and melodic flourishes of the rest of Contact for a more pensive feel, replete with drones, tuned percussion, and tantric textures. These tracks aren't ineffective so much as they are on a different plane from the rest, one less ecstatic and adventurous.

As songs pulse and glow bright in the most dynamic of ways, it's almost bittersweet to see Mouse on Mars sounding so comfortable delivering house music, losing a bit of their identity with each passing beat.

The Incredible True Story is Logic's best work yet, but there's still work to be done bridging the gulf between his ambition and his ability.

This album as a whole doesn't quite match the consistent glories of such earlier albums as Hello Starling and The Animal Years, but he remains an artist eminently worthy of attention.

On paper, the inclusion of saxophones, bass clarinet, flute and cello should make Ultimate Success Today expansive. In practice, the auxiliary musicians often add the sonic equivalent of extra seasoning to an already good dish; it's often unclear whether Protomartyr needs the addition.

Sound Ancestors is a mixed bag if ever there was one. It's funky, it's psychedelic, it's jazzy, dirty, clean, and mean. It's Madlib.

Aporia is foremost an exercise in collaboration — a meeting between two perpetually entangled personalities, an ode to their decades-long father-son relationship and a fitting conclusion to their musically enriched partnership.

Love & Devotion is a quality departure from solid musicians that should stand as a stark lesson to the armies of artists out there producing dreamy, '80s-inspired synth-pop of lesser quality.

Heavy on mood and light on melody, Stadium plays best as background music that you're instantly and repeatedly rewarded for tuning into, but it does little to demand the listener stay engaged, content to let you visit this strange and fascinating world at your leisure.

There is still strength, a tenacious hopefulness that coils around every song, even as Stay Awake revels in its delicacy.

First Demo is the closest thing to a new release that we're probably ever going to get. It's also the most interesting insight into the band since the Steve Albini demos for In On The Kill Taker leaked.