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.

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.

As convoluted as it may seem at first, there is merit to the deranged genius of Ariel Pink.

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

The home stretch of the album is where the band really opens up, unleashing haunting melodies and intricate movements that create a soundtrack for a virtual fever dream.

The instrumental packaging (which sounds even more lux and sophisticated than ever) shifts constantly, but there's always a catchy melody to carry Nocturne through.

A passive 12 song set that toes the line between nostalgic sadness and bright optimism with remarkable ease.

Creole's comeback mixes genres, wit and personal history with an amicable charisma that could only be cultivated by the type of guy who wears a zoot suit and a fedora any time after 1943.

Enterprising Sidewalks is a multi-layered listen.

Maybe Khan is excessive in the thought process of his message regarding the world; maybe he is in fact understating the necessity of awareness to the problems our world faces; maybe it’s somewhere in the middle. Regardless, all of us could use a little bit of the soul the King Khan And The Shrines is willing to share on the record.

The sounds are bigger on Junip, but it’s the audible give and take among the performers this time that makes the album intimate.

Palladino and Church may drown their sorrows in a pool of gloomy effects, but they still make even the most heartbreaking sentiments sound sweet.

As a debut and a fleshing out of Stelmanis' previous eponymous work, Feel It Break is a solid place to build from and a reason to expect good things from Austra in the future.

This type of zip-filed nostalgia is not particularly rare or new, but what makes this meeting of the minds work better than other collaborative vanity projects is the way these two artists' sensibilities flow seamlessly into one another, erasing any sense of the cut-and-pasting that brought the album to life.

The result is a terrific, fun and most of all, genuine follow-up from one of the best surf pop bands of recent memory.

Frustratingly, the album’s lowest point comes directly after one of its high points.... That’s not to say that Surfing Strange isn’t impressive as a whole.

Sweet and thoughtful but not without edge, Lemuria knowingly toys with us on The Distance Is So Big, reveling in the loops of the lyrics and the strength of their unique saccharine force.

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.