M.I.A.'s schizophrenic style does not please this time around. The industrial and mechanical soundscape lacks both genuine protest songs or club jams.

Like many bands before them who similarly created magic with their debut albums, this Brooklyn trio can't quite harness the same level of energy for their sophomore effort.

Despite all of it's successes, the fact is that the album doesn't reach perfection, which I imagine is what most Jets fans might have been expecting from it. I will argue that it's a superior piece of work and certainly one of the better hip hop releases so far this year.

He possesses flawless rap skills, artiness, tasty hooks and smart production. There are lots of strong tracks, but his debut is highly enjoyable as a complete listening experience.

Long-time Kelis fans might be initially surprised at the sonic switch-up-it's more dance than quirky R&B-but there's something totally right about the way Kelis tackles electronic music.

Her return to electro-pop form on Aphrodite–Minogue's 11th studio record in 23 years–is on point, maybe even better, than much of her discography.

Again and Again is an atmospheric album, but it suffers under often nonsense lyrics, uninspired vocals and borrowed production. It doesn't leave a lasting impression.

While How I Got Over is cut from the same cloth as their last album, the fabric of it is unique to itself. It's dark and tragic in places, but also enlightening and empowering.

Eclecticism has always been the strength of the Chemical Brothers and with their seventh studio album Further they continue to develop musically.

At its best moments, the latest effort from Stars yearns for the flicker flame of "Set Yourself on Fire," but it is neither as gorgeous as nor is it as jarring a mixed bag as "In Our Bedroom."

There are points during the disc when you wish the rollercoaster would relent, but that is beside the point: Fol Chen are pop experimentalists, deft song-writers and immaculate producers who have a lot to say – so hang on!

It’s a strong, deliberate album that is both unsettling and riveting, and absolutely convincing in asserting Crystal Castles’ relevance, and talent.

You would think that all this grandiose genre-juggling would play out like a collection of songs, but it all works well together and plays like a cohesive album.

Unlike the first record, which relied on Temple alone to fill out the layers of the songs, Pigeons utilizes the full band, and improves because of it. The songs are better composed, and more interesting: the experimental bits, which were a bit of a distraction, are more focused and purposeful.

A track like "Grape Juice City" indeed showcases the duo's tendency to prance upon unique wavelengths and make them their own but, a little extemporaneous head-butting between the sounds would keep Ratatat atop the sonic badlands they created.

Regardless of how the totality of Splazsh sounds to you--whether it's five tracks and 15 minutes too long, or a perfect hour-or-so long piece of programmed paradise, there's a lot to respect about Actress' confidence as a producer.

Their second-full length record is an earthy, brazen affair simultaneously speaking to the romantic idealist and weary traveler.

In it’s complete scope, the album contains all the master works we’re usually too scared to expect from a full-length these days.

Everything fits in place to up the game of something else, and no part of these finely made blues and soul creations gets a pass on pulling its weight. That’s just how it works for Brothers.

Although Compass is certainly different from his other albums, it’s also just as certainly distinctly Jamie Lidell, and just the latest step in an ever-growingly impressive career.

Either allow this the dignity of being played through a quality sound system or go invest in a pair of Beats by Dres. This is far less an album than a cinematic experience.

There are no absolute standouts as on past albums, but that is okay. Where Did The Night Falls is less concerned with purity of individual songs, and more focused on the audible aesthetics produced by its eerie experiments in sound. And for that, UNKLE has another winner on its hands.

The sisters Sierra and Bianca Casady plus a few guests (jazz pianist Gael Rakotondrabe, Argentine drummer Bolsa) improvise another trek through their active imaginations, doing whatever makes sense (or not) to them that day.

While his past two Anti-/Epitaph releases showed a heavy punk influence, Li(f)e is a groundbreaking amalgamation of folk, indie rock and hip hop.

Omni doesn't reach the same dizzying heights that some of their past releases have attained, but it's a solid piece of work. Definitely something to keep blasting in the car for the upcoming summer months.

More! is filled with playful, soft and dynamic production, but instead of having a fluid album format, it feels a little inconsistent. And an unnecessary and dated vocal feature from Yello on "Divine," weakens the whole flow and picture.

With Swim Snaith finds success focusing his most complex notions and freeing his most straightforward ideas.

By the time things conclude with mannerly closer "The Great Estates" it's been made perfectly clear that this is a band ready and able to create visions with enveloping scope and delightful articulation.