With a sound as good as this, it's clear Xerxes aren't simply riding the wave, but making some of their own.

On Hive Mind, Ital delivers a refreshing approach to instrumental electronics, with equal disinterest for both the club and headphone scenes, pissing off Internet purists in the process.

Like past releases, [4Eva N A Day] breathes a warm, nostalgic haze steeped in Southern soul and the country rap of UGK and Outkast.

The Hyperdub resident dabbles in funk, grime, experimental, R&B and soul, a mélange of styles that effortlessly coexist.

Mixed Emotions is just the painstakingly crafted, mood-driven long-player we've been waiting for from this immensely talented duo.

It's business as usual for the Wedding Present, but in the best possible way.

A modest five-song EP, from its pared-down arrangements to its monochromatic album cover, Silent Hour/Golden Mile is a surprisingly cohesive release that begs for repeat spins.

Airy, vaguely psychedelic and meaningful, Beyond the Times is a gorgeous exhibition from a thoughtful, voracious artist relishing a whole new outlet.

Beaus$Eros yields some positive results while laying the foundation for some interesting future projects.

In a Dim Light turns out to be a frustrating listen; it's an adventurous outing by a band that plainly need to sharpen their craft.

What this trio from Philadelphia, PA are offering, in spite of their rough-hewn hipster image, is nothing new and can be traced back to Barenaked Ladies through Simon & Garfunkel, Crosby, Stills & Nash and even the Kingston Trio.

New Multitudes shows, just as Mermaid Avenue did in 1998, that Woody Guthrie's work remains a living entity with a limitless capacity to inspire.

It's tempting to label Beard, Wives, Denim as a tossed off side-project that doesn't stray too far from its more famous parent band. But Pond have something more to offer and both fans and detractors of Tame Impala should give this a listen.

Willner is clearly letting his time in Germany shape his sound, which isn't a bad thing and it's nice to see another, mellower side to his work.

The band are more interesting when they expand their sound.

The truth is Trust are masters of delivery and flawless executioners, proving to be much better mechanics than designers.

Open Your Heart's greatest triumph is its ability to hearken back without feeling retro.

The album's ten dirty bass, hydraulically placed rhythms come off like a more focused, implicit version of the Minnesota-born laptopper's previous work.

Cursive have delivered a highly stylized album with a vivid conceptual storyline that keeps old fans listening while giving new listeners a chance to experience the progression the band have experienced over the last decade.

Though the stouter vocals have given the band more confidence for moments of melodic bombast, occasionally they sound out of place.

Straightforward and simple, A Eulogy for the Damned isn't a work of great musical genius, but is refreshing in its bravado and simplicity.

A lack of variation in tempos and tones gives a sense of redundancy, yet the pace of the album, with all of its gosh-darn hooks, carries it through to the end.

A marriage of vocal house, disco and pop, it's an immediately accessible album with several decent dance floor stompers.

The vocal delivery throughout (care of guitarist Woody Weatherman and bassist Mike Dean) is pretty weak, especially compared to Pepper's attention-commanding style, and that, combined with a somewhat jarring mix of fast punk, smothering, Sabbath-ian metal and good-ol'-boy Southern rock, just whets the appetite for the return of Pepper and the big rock.

Reign of Terror builds on the success of Treats without breaking from it, establishing Krauss and Miller as masters of their craft.

With their traditional sound mixing well with some new elements, Utilitarian marks the next chapter in Napalm Death's impressive career.

There's no doubt the songwriting is there--but the LP's best tracks ("All Our Wonder" and Old Haunts") share the lo-fi production that was a boon to the atmospheric beauty of their EP.

Spread over 12 songs, Del Rey becomes so ordinary, even bland, that no amount of little girl vocals or pouting can save her.