Mind Bokeh signifies a union between sonic exploration-typically condemned to musical isolation by being defined as experimental -- and the consonances of modern pop music that are readily accepted by mass listeners.

A little more daylight would balance out the vibe. But that’s a minor complaint. In fact, on further listens it becomes the album’s appeal.

What results is a satisfying but somewhat uneven listening experience.

Surf City plays with a more confident and reassured sound as the group comes into its own on We Knew It Was Not Going To Be Like This.

Mathambo is both voracious and omnivorous. This leads to a diverse and exciting listen.

Like the cosmos itself, Interstellar is a grower.

Sometimes lying on the wood floor or recording an album of pretty retro-pop songs is all you can do, and sometimes it's enough.

Bonobo has given us a great collection of interlacing melodic songs that have real depth and distinction.

Wicked Will offers a sprint through Ettes' tumultuous world, and in the end, the whole ride lasts for little more than half an hour. Oddly, the one emotion that the band avoids-joy-is the one that it leaves you with in its wake.

Plan The Escape and No Crimes are largely uplifting, though the descending bass line and drum combo on Crimes sounds like Queens Of The Stone Age doing Go With The Flow Light; and pseudo-ripped Depeche Mode lyrics like, “All you ever wanted, all you ever need” make for the album’s most clichéd moment.

Taken as it is, this is a great summer’s coming album, the most fresh guitar pop record of the year, though it might be a bit too bright at times.

Although the album loses some steam in its second side, it is light-years away from disappointing. Instead, it is proof that this band has aged well.

The production sounds more expensive, but all the passion and intimacy of their previous work remains.

[A] fine new Joanna Gruesome record.

This doesn’t feel like yet more easy-trash, pool party punk (though it is that, and good at it), but something that has a preternatural songwriting zing and energy not predicated on just the fumbling charm of a stained ’80s metal t-shirt and Ronettes knowledge, but actual, like charm.

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.

Long.Live.A$AP, his major-label debut, is both cunning and desperate in its attempts to please every possible demographic without looking like it's trying too hard.

Despite some sugary moments, Dalliance, mostly ringing with fizzy excitement, is nonetheless a record that toes the line between bitter and sweet lonely dude moments.

The songs are solid and don’t mess around as much as the show. Though the non-stop, not exactly dancey indulgence groove ride of the whole first half, no pause until six songs in, might nag some.

Nothing more than Inglish's beats and Rocks' rapping are needed to prove that When Fish Ride Bicycles was worth the wait.

Detroyer missteps are rare, and while Five Spanish Songs won’t go down as one of his most memorable albums (even the title implies this is a somewhat tossed-off diversion), it shows that he can continue to take risks and create albums that both placate and challenge his listeners.

The group took more time crafting these songs, and because of that, the album seems almost effortless.

No matter where TEEN decide to turn, they have to be commended for their creativity in conceiving such an other-worldly record.

The trio’s past experiences may explain how it manages to exercise a seasoned talent for both variety and control.... The two “Recover” remixes, by Austria’s Cid Rim and U.K.-based Curxes, are filler. They’re pleasant on their own, but neither can hold up to the original.

Although the majority of the record is devoted more to synths and vocals than to beats and bass, the sound of Personality speaks loud and clear.

If you can glaze over the four total minutes that those three aforementioned songs ["I Love You Ugly," "Madness," and "Demon From Hell"] occupy, what’s left is an all-around good time.

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

OFF! is like a perfectly executed kickflip: over before you know it, but immensely satisfying.