This newest electronic funk vision feels like the album we’ve been waiting for.

This brutally honest record is in many ways more powerful than anything from his agitprop days.

The album is a delightful access point to the cloudy emotional zones Bernice have always occupied, from a warm place of Snuggie-bound safety.

His focus on high-quality, vintage synth sounds gives the songs a unique flavour and energy that are hard to resist.

Lyrically, he's still clever but also much more direct, and there's greater impact because of it.

Li's productions tend toward a functional minimalism that works well for DJ singles but to some ears might lack the dynamics expected from albums. If you can get past that, though, Under The Same Sky holds together as a compelling exploration of a theme.

By finding the beauty in isolation, Efterklang have made their most triumphant record yet.

What makes this work so beautifully is that the sound is completely unique and modern and yet couldn't be confused for anyone else.

The melodies' stoicism seems to reflect much of the empty, brutal beauty of modern life.

If this isn’t the band’s best yet, it’s still damn good.

Their name may reference a 52-year-old Elvis Presley musical, but Blue Hawaii are poised to have a lot of people talking about them right now.

Listening to the fiercely adrenalized sophomore disc by Sweden’s Love Is All is like being at the fair for an entire weekend, stuffing your face with cotton candy and taking one too many spins on the Gravitron.

Shapeshifting may sound very contemporary, but it's not in the least derivative.

He’s sounding more Sly Stone than Otis Redding this time, which gives him room to get delightfully weird and psychedelic while still keeping everything deeply rooted in R&B.

Always good for a spirited rock song, he infuses Patty Don't You Put Me Down with narrative wit and charge that recalls contemporary Bob Dylan. We're all lucky that Thompson is on fire these days.

It works as an homage but also as a reminder that specific eras, places, styles and sounds can live on as a state of mind.

If Fantastic is saying anything meaningful, it's "shut the hell up and have some fun."

Not every song is as outstanding as the next, but at points, Anti is incredibly satisfying and sufficiently distinct from her other efforts--very much worth the wait and the bizarre roll out.

Fade isn't a drastic departure, but when you've polished your eclectic sound as well as Yo La Tengo has, that's not always necessary.

Led by Patton’s smarmy vocals and the band’s intricately heavy instrumentation, Oddfellows cuts a swath between infectious bangers (Stone Letter, South Paw) and quirky atmospherics.

It's an extraordinarily consistent pop album.

The record, lacking choruses or pop hooks, isn't one to turn to for instant gratification. Instead, it's an engaging marriage of words and music.

Hanson artfully pits his airy vocals and kaleidoscopic harmonies (there's a pronounced Kinks vibe) against thick, sludgy guitar riffs and crashing drums.

The whole album is solid, save for Uffie's questionable club princess rap, and even that sounds better with repeated listens.

Despite repetitive structures and an average song length of over seven minutes, the duo hold interest with their sterling musicianship and artfully detailed performances.

It’s the middle songs that are most immediately enjoyable.

Ritter draws liberally from the well of himself, others and the Bible, and it's a fun ride.

Though QOTSA always seem to be on bland-rock stations, this is as different from the mainstream as you can imagine, and not in a bad way.