All ten of the album's songs overflow with sparkling synths, sighing pop hooks and made-for-summer beats. The lyrics are often difficult to parse, particularly since Mars frequently dips in and out of Italian and French, but the overall impression is one of sweet, big-hearted sincerity.

Dub Egg is an album for guitar heads.

Minimum Rock N Roll is a dynamic and vibrant good-time screed; it's not anti-consumption but it is out to have people consume discerningly.

They have made their most consistent release yet, stretching the earworm-y catchiness their album Weeds employed.

They're still more than capable of cranking up the guitars and making the kind of caustic, spiky noise that's been their trademark for more than 30 years, especially live.

Stewart's reliance on familiar 'intro/build-up/drop' production structures can at times run repetitive, but his own subtle guitar playing, hyperactive synth pads, mallets and bells make the songs anything but predictable.

Estoile Naiant works as a satisfying continuation of patten's work, albeit one that moves his sound in a sideways direction.

Oak Island has a deftness that makes it hard to resist, but some songs disappear under the weight of everything that's transpiring.

The end result is even more unhinged than expected, taking the underground approach of his many side-projects over the years, adding Pantera grooves and staying miles away from anything approaching Down in sound.

The record succeeds when the band give into the temptation of pleasing their crowd with ramshackle tracks that will work well in a live setting.

In 2014 this just seems like the kind of better-than-average album that befalls way too many British musicians past their prime.

The record's quieter moments give a welcome reprieve from the extended jamming, with "Right On Time," "Heart Full of Scars" and the slow-burning "Swamp Dog" giving the record some welcome balance.

As the whole, though, Discreet Desires is more introverted than Hauff's previous material. She's attempted to present a unified piece with this album, rather than a selection of similar tracks, and it's a gambit that's paid off in spades.

While this project will likely infiltrate the Serato of many a nightclub DJ, there's little--outside the three or four cohesive, codeine-fuelled joints surprisingly carried mostly by Future--that reaches the potential of what What a Time to Be Alive could have been.

Domo's Genesis is a step in the right direction, but he's walking to his destination, and not anywhere near where he needs to be just yet.

At its best, it sounds like a long-lost Pink Floyd album actually meant to be synced to The Wizard of Oz (the album's title track and "Mr. Wright"); at its worst, it evokes old Tame Impala (the first movement of "Cricket And The Genie" and "Boomerang Baby"). Basically, it's a win-win situation either way.

Modern Pressure feels vibrant and impassioned, adding a freshness to the otherwise vintage sound.

While Suuns' albums tend to reluctantly hold your hand while guiding you through their universe, Felt reaches out and pulls you in. It may even make you dance.

Automata I cherry-picks from some of the best elements of previous Between the Buried and Me records, while injecting their masterful sense of musicianship and structure.

Given the breadth of Hood's output and influence, hardcore fans may have wanted a more encompassing and historical selection but there's enough here to satisfy both newcomers and devotees.

Buoys requires repeat listens to appreciate fully, but those willing to dive deep enough will surely be rewarded.

By paying proper homage to his soul elders, while also employing more distinctly subtle singing and a greater relatability via his plainspoken lyrics, Smith sets himself apart with 1634 Lexington Avenue.

What looks like an odd couple cover album at first glance turns out to be one of the best matched and executed collaborations of which either group have been a part.

It's a successful album, but it's not quite a SOPHIE project. If you follow the sounds long enough, you'll eventually find her — quietly commanding the aux cord from another, better dimension somewhere in the kitchen.

His whimsically removed approach worked out quite well for Strange Pleasures.

It's a tried, tested and true formula that has allowed these two humble cats from the land where Kirby Puckett smacked homers to do this for so long.

Sun Structures is a simply wonderful record.

Eight is a solid album of bass-heavy, tribal dub techno that employs plenty of analog synth and is among Deadbeat's strongest releases to date.