Tomorrow's Hits sees the band honing the sound of last year's New Moon into a tight collection of pop-minded rock songs.

Rambunctious and irreverent, Oxymoron blasts bullet holes in the theory that gangsta rap can't sound fresh for 2014.

As with most DJ-Kicks comps, this one shows a different side to the group and is as much of an homage as it is a glimpse into the trio's future.

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

The only notable shift in balance is a slight tipping of the scale towards the weight of electronic over acoustic instrumentation.

Island Intervals is barely over half an hour, but it's so rich with mood and detail that it stretches out and out and out to the horizon and beyond.

The production is competent, yet very derivative for 2014, appearing stuck between ornately symphonic leftfield pop and Timberlake-brand R&B.

It is unquestionably their finest, and strangest, work to date.

He's probably too modest to just come out and say that Present Tense is where beauty lies, but he should; this fourth Wild Beasts album is a stunner.

Clark has made the beautiful ugly, the ugly beautiful and the difference between them nearly indistinguishable. If that sounds pretty complex and incredible, you've got a pretty good idea what listening to St. Vincent is like.

After 17 odd years of making solo albums, Neneh Cherry surfaces with the force of a jab rather than an uppercut. We appreciate the contact regardless.

While the earlier LP was harrowing in its soul-searching melancholia, Morning Phase is warm and soothing, its tone coming across as beautifully bittersweet rather than overtly depressing.

The dynamics are top notch, shifting masterfully from a melodic tone to a heavy, empowered voice.

The theme of being a descendent in a musical sense is extended to Rashad's familial reality on Cilvia Demo, delivering some of the EP's strongest moments.

Musically, Guilt Mirrors is all over the map in the best possible way.

The record is, ahem, a solid debut that should provide a jumping off point for something great next time ou

Lost In The Trees might not be as distinctive as they once were, but they still make highly emotional music; it's just better disguised than it was in the past.

Those willing to get past their preconceived notions may be surprised to find that Lo-Fantasy is perhaps the most dynamic recording of Roberts career.

The production on Somewhere Else is crisp and clean (though they could have pushed Loveless' distinctive voice slightly more out front).

Motivational Jumpsuit, the band's fifth studio album since the band's recent reformation finds the band continuing to the mix of psychedelia, garage-rock, post-punk and pop that they've perfected over time.

Galore, is a soulless collection that feels more like a grasp at brand synergies than an attempt to make meaningful music.

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.

This is music of pure catharsis, making Hardcore Traxx not only an invaluable historical document but a hell of a great time.

The eight-part suite greatly expands on Thug Entrancer's previous efforts, yet still finds the producer relying solely on analog synthesizers and drum machines

With Ghosts of Then and Now, Illum Sphere strives to balance the ethereal with the earworm and, for the most part, succeeds.

Stuffed with guitar histrionics, Cheatahs do fall prey to hero-worship, but they nevertheless deliver an album worthy of its influences.

It isn't easy listening, akin to catching up with an over-sharing friend going through troubled times, but the stories are sad, funny and surprising, and the rewards are plentiful.

Sun Structures is a simply wonderful record.