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.

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

It's a better idea to approach the album for what it is: a pretty, if somewhat slight take on sun-saturated psychedelia.

The angst and abrasiveness inherent to Adult. is still present in some form (even a quick look at track names like "Nothing Lasts," "At the End of It All," and "Heartbreak" reveals that much), but the band has undoubtedly smoothed things over and pushed its sound closer to the dancefloor.

White Hills have struck a riveting balance between heaviness and ethereality while proving space rock can still stimulate four decades after its Big Bang.

The knotty lyricism and psychedelic rumble of 12 Reasons to Die II should be more than enough to keep Ghostface fans satisfied.

In the end, his attempt to tackle the alienating, intense feelings related to this subject turns out to not only be insightful and emotional, but oddly graceful as well.

The album's dusty beats, pointed electronics, and cinematic feel are pleasantly familiar, at best they recall the band's past glory rather than pushing forward their legacy.

Home's biggest problem is that it can easily drift by almost unnoticed.

Though his misses may make Ghettoville appear lopsided and drab, every on-point production buried in the heap makes mucking through Cunningham's warped ideas rewarding work.

While the duo proves to have an able hand at constructing reflective, chilled-out, or pleasant vibes, the record's darker and more brooding auras come up a little short.

Occasional lyrical missteps aside, Arrington's voice sounds as smooth as ever on this album, which is great, although it does overshadow Dam-Funk's significant vocal talent.

Carbonated may not be exactly what the legions of devoted Mount Kimbie fans have been pining for, but music with such intricately weaved details surely takes time, and this EP proves to be a welcome stopgap to help hold us over.

II’s songs can glide by like a benevolent mirage, not quite registering but still leaving an afterglow. That afterglow is exquisite, however.

Half of Where You Live is a considerably more rewarding album, one that creates lush, sophisticated, and disarmingly inviting music using the simple building blocks of sample-based beats and deeply personal musical storytelling.

While Power exhibits his range in mood and melody on this self-titled debut, one can't help but wonder how much the album could have benefited from even the smallest touch of the rhythms that give his other outfit its vibrant energy.

There are a few lulls to be heard on Haven (as in songs like "Someone" or "At Last," that begin with good ideas but never form into anything more substantial), but they are all easily overshadowed by the fascinating convergence of influences that comprise the album's 10 tracks, making it an extremely promising debut and a uniquely assertive statement in its own right.

Through it all, in the music and in Weatherall’s characterful vocals, Public Image Limited is a clear influence. The album is at its best, though, at its most cosmic.

Dance to it if you must, but enjoy Fading Love for what it is--a lovely, heartfelt set of tunes from a still-evolving composer and producer.

Dark Crawler is the sound of Terror Danjah hitting artistic maturity.

The kitsch value may warrant a spin or two for curiosity's sake, but few of the album's 10 productions have the staying power of the musical touchstones Com Truise is referencing.

His Headcage EP, released yesterday via Ghostly, continues on that trajectory, moving toward music for a wider audience while maintaining much of the oddness that makes him popular in the world beyond the mainstream.

Bundick's Causers of This is also peaceful, but the album's tranquil tones sound a lot more like happy accidents than well-executed plans.

It wanders more like a Hype Williams album would, and leaves that opening promise to dangle unfulfilled.

Joke in the Hole is an unusually infectious outing for an artist whose recent work with Black Dice, although intermittently catchy, remains as unrelentingly challenging as it's ever been.

Despite what its title might imply, The Keychain Collection feels very cohesive, more like a planned progression than a mere combination of tunes.

Tracer is an album executed with seriousness and intelligence, and although it is never outright contemplative, the record is never jubilant either.

The speedy segue between Jungle Buddha’s raucous DnB cut “Drug Me” and Black Acid’s eponymous 303 track is the pick of the early exchanges, but it feels rushed and airless--deeply contrasting with Burial’s trademark spacey sound-chasms. ... [OKZharp & Manthe Ribane’s “Treasure Erasure”] arrives during a decent section that also includes the more gentle timbres of Ben Frost (remixed by Jlin) and Proc Fiskal (also on Hyperdub); these are nice, but are separated by the squeaky rudeboy MCing of Dean Blunt’s Babyfather alter-ego, another bizarrely jarring selection. ... FabricLive 100 feels hurried, uncomfortable, and impossible to feel truly at peace in.