While the album isn't perfect, it offers a more complete experience; it's a little bit strange, but it's also a little bit brilliant.

Often Patrick Wimberly's production renders their pop-cultural culling too literally.

Album is an astoundingly good record in its own right, but the omni-directional growth showcased on Father, Son, Holy Ghost is nearly overwhelming.

Her throaty vocals and winsome lyrics recall the Jamaican patois and patience of her youth, while the title track shows off a Grace Jones delighting in a frightening form of future-forward decadence.

Celestial Electric can feel a little freewheeling and exploratory at times, but it also hints at great potential in future collaborations.

The stark contrast between frontman Ellery Robert's guttural, yell-sing vocals and the squeaky-clean instrumentation not only works harmoniously, but also creates a distinct and commanding sound.

With In the Grace of Your Love, The Rapture show the newbies how it's done.

What Cymbals Eat Guitars does best is to constantly toy with the highs and lows of song construction: soft, loud, acoustic, reverb, shout, cymbal or guitar.

The altered states of Cameron Stallones' latest Sun Araw effort Ancient Romans are an acquired taste.

Beirut always obtains a robust bottom-end in the live setting. The same is true of this wistful nine-song set.

Male Bonding can't help but balance themselves on an axis of sweet melody.

While the Malaysian songstress' charming vocals are easily the main attraction, Avi's unexpected stroll through different sonic territories-hopping from pop ("The Book of Morris Johnson") to R&B ("Concrete Wall") and reggae ("Roll Your Head In The Sun")--is a close second.

Best of all, there's "The Sun and the Sea and the Sky," an unreleased take from one of pop's greatest achievements, 69 Love Songs, that makes Obscurities worth the admission all by itself.

A sloppy and inebriated brand of psych-rock still serves as an ideal backdrop to S.M.'s hilariously irreverent storytelling-half silly, half serious and often poignant. This musical recipe really never gets old.

On their third effort, it's still the sexy that sells us.

There are crisp and slow electro beats, echo-drenched vocals and an absolute well of soul that touches immediately, deeply and profoundly. Whatever these guys think they're doing, the music is heavenly.

Gently strumming crispy chords or plucking glassy notes from his guitar, Shlohmo (like England's Mount Kimbie) finds fleeting moments of intimacy amid the bustle of urban life.

Similar to its other releases, the band masters even the several lyric-less shorter tracks serving as musical intermissions scattered sporadically throughout.

Blue Songs is a sophisticated and club-ready sophomore effort, even if--at times--it nearly crumbles under the weight of its own decadence and self-indulgences.

With the influx of worshippers only getting stronger these days, Active Child is a welcome addition to the pulpit.

Too soon for July, the trio tends to fall back into the boredoms of late-summer garage jamming, though.

Fool's Gold knot their songs up in Lewis Pesacov's elastic guitar, and when they let it go-as in the closing moments of "Bark & Bite"-everything unwinds into bliss.

The Globes do a nice job of grabbing and keeping listeners' attention throughout the album's 35 minutes of music.

The result is a melancholy brew.

Their first for Atlantic (and sixth overall) is a carefully crafted collection of 11 songs that don't stray from the band's alt-psychedelic formula, yet are a refreshing step forward.

Their self-titled debut is filled with unexpected flourishes: a spiky Britpop guitar-riff here, a 1980s synth-refrain there; its influences are all over the board--and delightfully so.

Nothing sticks on the LP, and the disc feels recycled, pedestrian and a bit exhausting--at best.

Though captivating siren Yukimi Nagano needs to turn it loose…watch out once she does.