Grimes is the one-woman cyborg-pop project of Montreal's Claire Boucher. Visions, her compulsively listenable third album, is an electro cotton-candy entryway to her peculiar kind of bliss.

The Bristol-born folk musician, who records electronic music as Third Eye Foundation, offers a robust, atmospheric set of songs enveloped in blood, sorrow, and torment.

Crafted over four years, the San Francisco psych-rock quintet's Rick Rubin-produced third album has all the tropes of a record-as-game-changer.

This surprising grindcore record from Matthew Widener of Exhumed adds digitized horns, banjos, and martial drumming to the aggressive splatter, coming over like Napalm Death clobbering John Philip Sousa.

The L.A.-based duo of Sarah Rara and Luke Fischbeck return to the techno-tribal primitivism of their earlier albums on this limited-edition collaboration with the visual artist Jesse Hlebo.

Jonathan Meiburg and co.'s latest album finds Shearwater dropping the arcane conceptual gambits of their recent "trilogy" and speaking in layman's terms emotionally and sonically.

Like his best music, Gucci Mane's release with noted mixtape curator DJ Holiday is colorful, interesting, flagrantly dumb, and sneakily clever.

The Hotel Sessions, a collection of demos recorded to a Walkman in 1992, and Laughing All the Way to the Cleaners, a conventional 2xCD collection of hits, offer different looks at some great songs Evan Dando wrote over the last 25 years.

Electro-acoustic composers Thomas Meluch (aka Benoît Pioulard) and Rafael Anton Irisarri strike a balance between lyric-driven emotional appeals and aloof abstractions on this collection of nocturnal ambient pop.

The Icelandic composer, known for releasing music in unusual ways, offers the straight-to-YouTube Living Room Songs and a score for Sam Levinson's film Another Happy Day.

A year after Street Halo, the London producer returns with another three-track EP, and this collection pretty much breaks every Burial precedent there is.

Spurred on by a bad breakup, Nick Thorburn showcases a renewed passion on this Rob Schnapf-mixed collection, the most cohesive Islands record to date.

The work of classically trained electronic composer Suzanne Ciani effortlessly bridges the commercial and the avant garde. This compilation, spanning 1968-1985, is a perfect introduction to the far-reaching nature of her talents.

The French metal veteran blends shoegaze sentimentality with black-metal aesthetics on his latest LP, the most accomplished Alcest offering yet.

The Erika Wennerstrom-fronted Cincinnati blues rock quartet (and Friday Night Lights favorites) strip things down on their crunchy Jim Eno-produced fourth album.

The drone-metal syndicate, who reformed as an elegant blues band seven years ago, follow Angels of Darkness, Demons of Light 1 with an expansive, understated collection recorded during the same session as that 2011 album.

Biokinetics was the first album released on Berlin's Chain Reaction and 16 years later, Type has reissued Thomas Köner and Andy Mellwig's landmark experimental techno album.

The latest entry in Lil B's Flame series-- mixtapes that can be all over the place, but often delve into the sounds and slang of classic New Orleans rap-- does not disappoint in its blend of the bizarre, fantastic, and unbelievably bad.

Featuring unreleased tracks from Deerhunter, Four Tet, and Terry Riley, among others, this compilation organized by Blonde Redhead's Kazu Makino benefits relief work in Japan for the 2011 meltdowns at the Fukushima Nuclear Power Plant.

On their satisfying debut LP, this C86-nodding California noise-pop quintet mixes the familiar with the unexpected.

On their second LP, Tennis take the Brill Building tunefulness and classic indie-pop production values of their debut and add a bit of rock'n'roll muscle. Patrick Carney of Black Keys produces.

Axel Willner of the Field slows down and crafts an ambient album under a new moniker that brings to mind the early masters of German electronic music.

Shifting gears from their first two records, the UK band's newest features production from Tim Goldsworthy and aims for a sound closer to Foals and Wild Beasts.

Following their 2010 double album, Field Music's latest finds them returning to the more succinct and fractured impulses that guided their earlier work.

This EP for Ford & Lopatin's Software label finds Carlos Giffoni fusing the noise textures of his earlier experiments to acid house with intriguing results.