By handle alone, “Majical Cloudz” sounds like it’d be some meme-based electronic pop outfit. But the band has little demonstrable interest in nyan cat.

Daft Punk’s “Random Access Memories” is far from a perfect album, but it’s a bold statement in a shiny, plastic package.

You might recognize Koenig’s vocal effect and Vampire Weekend’s overall ear for melody from past albums, but that’s where the similarities end.

Deerhunter’s new album “Monomania” finds the group moving in a new direction, but is it far enough off their beaten path?

Its few singles may be resoundingly lush, but Major Lazer fails to fill in the corners of his new album, “Free the Universe.”

Opening misfires aside, “Half Shadows” is a decent album with a few excellent selections from Los Angeles producer Jennifer Lee.

The question for James Blake’s sophomore LP was not which Blake would show—the songwriter or the producer—but in what ratio.

“Shaking The Habitual” from the Knife might sound like a just a big muddled metaphor. But the specifics are there, colored in with creative spirit.

Odd Future busted onto the scene in late 2010 with a buzz as sweeping as any in the Internet age. At that point, all that was known about the group of teenagers could be gleaned from their expletive-laden Tumblr, outrageous YouTube videos and hodgepodge of macabre mixtapes.

At the center of it all stood Tyler, the Creator, Odd Future’s de jure ringleader.

Deep dance electronica has rarely been as accessible, let alone hilarious, as it is on Space Dimension Controller’s “Welcome to Mikrosector-50.”