The chemistry is electric, but Hair's most rowdy, rewarding moments occur when Segall and Presley's respective genre sensibilities clash instead of compromise.

Nobody Wants To Be Here And Nobody Wants To Leave will do more than satisfy existing fans of the band; new fans too would do well to start here.

Sahel Folk is a steadily moving work of clean sound not typically found in live works.

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.

These songs seamlessly trickle from one to the next in a perfect collection of sounds, showcasing both complexity and musical depth in this mostly instrumental music.

The Golden Age Of Apocalypse is all warm vibes and morning sex instead of Cosmogramma's seriously zonked and far-out space grooves-light and airy melodies carried out on bass with the tinkle of synth and keyboard, clear uptempo drumlines and a high soul-influenced singing voice doused in reverb.

No Kings provides a kind of artistic oasis, a glimpse into how great hip-hop can be when placed in talented hands.

That sweetness is exactly what we need after devouring the indulgent, carb-heavy, extra-sauce sound that is Drop, and (at the risk of allowing this metaphor to spiral further), we leave feeling totally satisfied and craving more at the same time.

These songs won’t convert skeptics, but they’ll give the faithful a few bloody noses.

While Marissa Nadler is more musically complex than earlier records, she maintains her overall aesthetic, both bucolic and tragic.

There doesn’t appear to be much room for hope, but they execute their sadness so beautifully that it’s easy to accept their blue moods.

Goodbye Bread shows Segall's calmer side, but the frantic instrumentals, heavy guitar riffs and rough-around-the-edges sound remain, betraying his decidedly harder roots and showing that Segall hasn't gone totally soft.

The album fights back against the tide of boring, quiet music, and nearly every song feels like a throat-rupturing protest against standing still.

On Low's ninth full-length album, the slowcore trio from Duluth creates its most inviting work to date.

Foxygen is never overpowered by its influences.

On their full-length debut, Milk Music keeps those influences intact with raw, warm sludgy rock that brings them out of the fuzzy shell of 2010′s Beyond Living EP helping to secure a unique personal identity that respectfully builds on a classic sound.

Despite the lack of direct emotional content in the shrouded lyrics, the music has an ache to it, a yearning that suggests a desire to connect but an inability to make a connection.

The Dap-Kings prove once again to be an almost mind-bogglingly crisp backing band, with tickingly taught percussion, sticky bass lines and sweat-inducing brass. But it’s Jones, of course, who holds together every song with her now-classic vox.

Luckily, Picture You Staring does deliver on the promise of its lead single.

he album is as much seductive as it is creepy, with hollow and haunting sonic gestures that together compose an alternate universe ambience.

The sedation blurs the transition of space and time, and Mangan skillfully plays with the passing of each to create unexpected pacing that adds to the overall feel, giving the album moments that range from subdued melancholy to impassioned rock.

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.

Black Lips puts on a hell of a show on Arabia Mountain, and it doesn't even need riots and stage diving to keep you interested.

The album, however, cannot shake off the feeling that it's a melting pot of Segall's previous albums from this year.

Listening to Quadruple Single is not a passive experience in the least.

Hell Bent is one of those debuts whose effortlessly-evoked sound kind of shocks you.

The music is smart, diverse and tuned to perfectionist standards, but frequently the lyrics leave the listener wondering, “Where is White’s gut on this?”

Grimes has come into a cleaner, more distinct version of her IDM self, albeit one still influenced by Aphex Twin, TLC and Enya.