Sonically, the capricious trio has brought about a fresh positive energy while still delving into the darkness that has always been present throughout their career.

Of the two rappers here, Killer Mike gets the most quotable lines, turning simple statements into punchlines and investing each syllable with a sense of rhythmic possibility.... Despite abandoning some of the more layered and mannered production flourishes of his solo work, El-P still packs these songs with stray details--the roar of a tiger, those gorgeous organs, the squeal of a dolphin--that can be jarring on first listen but gradually reveal themselves to be essential.

Whether you’re going on four years steady or trolling OkCupid nightly, Exhibitionists will hit you like a guilty post-dream high.

On False Priest, Brion drastically widens the canvas, giving the music a newfound clarity, symphonic sweep and thick low-end.

For all its ambitious digressions, conceptual gambles and silly experiments, it’s that spirit of adventure that makes the album so visceral.

A New Testament is a charming, compelling and overwhelmingly genuine piece of work from an artist who seems determined to confound expectations.

It's a complex listen that strays from the tropes of standard R&B.

Though the pure, dripping niceness of the album can start to feel dusty after a while, the constant effect of washing prevents that.

By blending past and present (and future), Daft Punk has created an album that speaks not only to the movie it scores, but also to the evolution of music that has allowed them to create the album in the first place.

It seems that this band really is fresh and only, for it has music brimming with originality via masterful combinations of genres.

Dye It Blonde blows away the fuzz and polishes the scratchy sounds off their last recordings, revealing a whole lot of something we didn't hear before.

Its [closing track Close Company] guitars are huge, its drums are pounding, and it sums up the record perfectly: dark, sexy and gargantuan.

It's a seriously cute band that writes seriously catchy love songs that you will probably seriously enjoy--if you're all right with that ebullience thing.

In between the tape hiss, the nature sounds, the subtle reverb, the sighs, it becomes clear that Bad Vibes has a soul.

It’s that sonic gluttony that makes Holter’s production an alluring tryst that’s hard to let go of come curtain call.

What makes Arcadia stand on its own is the slight, simplistic tweaks and unexpected syncopation that Polachek uses to infuse the album with an almost apocalyptic sense of silliness and childish wonder. It’s exciting to listen to, but at the same time vaguely unsettling.

That's the type of music that the band knocks out of the park: music for lovers to do romantic things to. On Codes And Keys, those lovers are encouraged to be happy-an emotion that sometimes has evaded Death Cab.

Pallett’s vocals that move from soft quiver to full tenor on the title track. And when paired with his simple pop tendencies, the intricacies are easy to absorb. All you have to do is listen.

Fulvimar has, all at once, figured out what works and built up the self-assurance to do just that.

The band’s adept at sustaining a singular sound throughout via rabid drumming, guitar fuzz at burning moss level and the fractured harmonies at freaky.

Condon's songs have always been flooded with emotion that sound both deliriously pretty and endlessly sad or foreboding, and The Rip Tide is no exception.

We know that there’s still plenty of life and love and pain to come, but we’re pretty okay with it. In fact, we’re ready to hit the road and let Lost In The Dream pull us in again and again.

Arbouretum brings back that good old fashioned psychedelia to rock music with its fourth album The Gathering.

Elephant Stone is a thoughtful and concise album that showcases not only precise musicianship from all members of the band but a distinct growth in songwriting.

The result is a smoother, more mature sound that varies with each song evoking hints of soul, funk, old-school hip-hop and some dance music for fun.

The rest of the album holds up to the single's brilliance, as Bundick traverses quite a few genres-from his trademark chillwave, to acoustic dream-pop ("Before I'm Done") and severe piano-led ballads ("Good Hold").

This isn't a joyful album, but it's inviting and almost welcoming in ways that might surprise people who primarily associate the band with the alienating onstage antics of giant frontman Angus Andrew.

Though King Of Limbs may be the band's simplest and most inaccessible album to date, the tone and mood created by the chaotic start and smooth finish makes it an exciting work.