This record may be an EP in name, but it's certainly a long-player in scope.

After eight-plus years of releasing music, Junior Boys demonstrate handily with It's All True that they remain fresh, luminous, and highly relevant.

Something happened in the shift from Games' That People Play EP to Channel Pressure. That welcome looseness was lost in lieu of Ford & Lopatin's more focused and (dare we say) over-thought songwriting and production, and it's as if there are too many cultural cues being thrown our way this time around.

Despite (or maybe because of) the absence of Braxton, Battles has soldiered on into new musical territory, and discovered a place that is simultaneously confrontational and inviting, esoteric and playful, technical and infectious-and very, very good.

Stone Breaker is the foundation of E building something new and completely different: an intense, head-down, relentless edifice of original, modern house music.

It's lurid, it's fun, it's omnipresent across all cultures, and yet no one wants to talk about it. This is the vibe that holds Women's Studies together.

Bespoke features a wealth of sounds and guest singers, but Darlington often lacks the glue to hold them together.

In short, it is rare to find a producer who can craft many types of tracks so consistently well, but with You Stand Uncertain, FaltyDL has cemented himself as such.

With more misses than hits on Bibio's new LP, it's apparent that his array of influences are best served in separate portions rather than blended together.

Credit Egyptrixx for making a debut album that sounds at once so unified and whole, yet like absolutely nothing else.

This is ripe, modern disco that's commercial enough to lure suburbanites into Target and skeezy enough to entertain smack addicts (as seen in the tune's music video).

Space Is Only Noise might be one of the most ear-opening techno records in recent memory.

In all honesty, New Chain isn't so very different from the rest of the Bushwick bulk. What is worth returning to, however, is the fact that the music offered is effortlessly lovely, memorable, well-transitioned, and oddly addicting.

The main problem is that the songs too often feel like sketches. The punchline is sold too quickly, the finish too abrupt.

In the end, Lucky Shiner stands as a proper introduction to a producer who cares as much about moving your body as he does your soul.

It's an undefinable musical culmination of our collective conscious-reminding us that the more we've changed, the more we've stayed the same.

Ring may not be perfect--certain songs have a nondescript, meandering feel--but this kind of growth is undeniably exciting, and makes both Glasser and True Panther well worth watching.

This is functional, workmanlike music built out of sturdy analog technology. For home listening and for the club, this is useful music to have around.

Such uplift from dread makes Strange Weather a fitting party record for our age when so many American Dreams, lived and fantasized, are falling apart. Pass the bottle.

One of Paper Tiger's finest qualities is its ability to include a diverse list of contributors who provide just the right formula of loops, dub beats, and samples to the album without making it seem bloated.

The new record doesn't quite live up to its predecessor, but its middle third is especially strong.

It's the defiantly weird edges that make Compass cohere.

The resulting album, which has been 18 months in the making, is certainly more complicated, although not more sophisticated than previous work.

Make no mistake, Our Inventions is a very nice album—"Rest Your Head" and "Everything is Always" are precious little slices of pop music—just don't expect kids who have been gorging on the psychedelic exploits of Animal Collective to flip out over this one.

Much like Four Tet's recent switch in focus towards club-friendly sonics, Caribou's Swim leaps into fresh, uncharted territory for the producer, but nonetheless retains the artist's unmistakably inviting and lovable style.

Most tracks play like one elongated idea and only a few songs sound fully fleshed-out, giving Thing a half-baked, underwhelming vibe.

Jones' voice is an instrument shaped by age, not youth, and Hard Way proves she's just hitting her stride.

The watery guitar parts of All the Way remain, rolled up into gritty, more linear drum-machine rhythms that occasionally give way to the serene drone of Growing's earlier years.