Dunn fulfills the title's promise by exploring other styles, though most fall squarely within the "old-school house" category. ... Other digressions don't fare as well. ... Still, when My House From All Angles hits, it hits hard.

Sure, it's still quite messy, but in separating the vast array of influences and ideas present in Ras G's deceptively complex music, Earth lays it all out in a much more digestible manner.

The whole album sounds like it was mastered from a chewed-up old C90--it's post-chillwave music, busy and glitchy, but as relaxing as a soak in a warm bath.

Pagan is a singular vision. There's plenty to enjoy--no individual track is a misstep. But consumed as whole, Pagan goes from sugary pop to sickly sweet, and is ultimately unsatisfying.

My Love Is A Bulldozer is a deeply ostentatious album, though knowingly so.

Considering the odds, it shows an animated and still vigorous trio worthy of its semi-legendary status.

What The Journey Man most clearly captures is that taste for excess and self-indulgence. It's the work of an elder statesman who still has a special touch, but who doesn't know when to stop himself.

Though the record at times leans toward Pantha du Prince's slowly evolving, dewy-eyed sense of melody, Urpsrung is without question Weber's most experimental and evasive work to date.

Trumpets, drums, vocals, violins, flutes, saxophones and cellos make for a much fuller, richer and more authentic sound than ever before.

Walk Dance Talk Sing shows you can't have too much of a good thing.

Get Lost [is] McGuire's most accessible album to date.

Sleek, confident and totally captivating, New Epoch is bound to attract interest and even incite excitement in those who might have thought the 140 BPM form outmoded and uninteresting.

They'll be fully outted soon--with an album this good, the backstory can't help but see the light of day--but even without the anonymity, Tiger & Woods will be plenty spicy.

The result, for its few flaws and its exhilarations, at the very least, sounds fantastic, production-wise; Grace finds the band melding tooth-ground guitar assaults; '80s throwback candy pop; fluttery house templates; dusty, almost Stax-worthy soul getaways and sample-laced electro throbs into an album willing to sacrifice sonic exactitude for a mélange of sounds, tempos and genre exercises that still feels very much of a singular-albeit kaleidoscopic-piece.

Glow dumbs down Niemerski's music into mass market-ready chunks.

As nice and welcoming as Getting Closer is, it'll never challenge you.

For many, it was going to be hard for Tellier to surpass Sexuality's sensuous odyssey. Thankfully, My God Is Blue does at least equal it.

Regional Surrealism [is] somewhere you'll want to lose yourself again and again.

Most of these tracks feel like they would evaporate instantaneously if they tried to leave the house, let alone take their place in any public space. As a debut collection of electronic oddities, it works just fine, though.

Even though Brighter falls short, in this context it does illustrates that the indie WhoMadeWho infuse their dance with has more funk and attitude than most.

Too often, Letherette is synthetic and manufactured, but in those slower, stranger moments it feels like the real deal.

The record holds up alongside standout moments from Dear's discography, but adopts an unexpectedly rugged disposition.

Those aching for Parker's winning synthesis of classic rock's melancholy and poppy euphoria still have plenty to chew on here. To ravers, Deadbeat might sound like not much more than beach bar music.

Though it's often lost in the overwrought emotions of Dva, her gift for sound remains even when she overshoots the mark.

Ada's lengthy absence has allowed her the freedom to switch creative modes without any seemingly abrupt transitions. Meine Zarten Pfoten is bright and soft and tender, a kind of warm-bath comfort that should be perfect for those downy hours before you put the day behind you.

The title track dates back to last year, and it makes a great case for SOPHIE as a Top 40 pop producer.... On the other three songs, it sounds like singer and producer are still learning how to work together.

James spends most of the EP in that exploratory mode, and though there's a certain pleasure in listening to an artist figure things out, a full 28 minutes feels like overkill. Regardless, it's comforting to know James isn't settling into a routine.

Gordian is a delightful listen, packed with plenty of rewarding oddities if you care to sit down and really take your time with it.