Psychedelic Irish duo Solar Bears’ second LP, Supermigration, more or less continues their foray into trippy sci fi-inspired soundscapes, but a bit more carefully. It’s more complete than the band’s previous effort, She Was Coloured In, with more prog rock influence fusing with their electronic-meets-acoustic sound.

Louis Jones sounds like a songwriter lost in time, but it’d be tough figuring out which date to punch into the flux capacitor if you wanted to send him back home.

As they grew out of the same electronic music scene that birthed the likes of James Blake and Darkstar, the rise to success for Mount Kimbie and their subtle, fragmented electronic dance music was a quick one.

Jon Hopkins knows how to get what he wants. Throughout his career, the English producer has crossed creative swords with a plethora of underground heroes, including David Holmes and King Creosote, and also played a key part in Coldplay’s ascent to superstardom.

In the hands of a lesser musician, Daughn Gibson’s rich and cavernous baritone may have mutated into a Crash Test Dummies-esque gimmick on his underrated debut album, All Hell. Fortunately, the mysterious songs produced by this former truck driver, adult bookstore cashier, and Pearls and Brass drummer are underpinned by a semblance of genuineness.

Rogue Wave has had a very “indie” career—from the band’s jangly, sensitive aesthetic and critical acclaim to its prevalence on television and film soundtracks and, unfortunately, relative anonymity to mainstream listeners. In other words, for a band of its caliber and songwriting prowess, its career arc has probably felt lackluster both to its members and their fans.

Proclaiming the merits of a gospel album from a singer whose public popularity peaked some 40 years ago and whose album is produced by a ‘90s alt-country singer (who, along with his son, also plays all the instruments), might normally be a tough task.

The third album from Black Mountain members Amber Webber and Joshua Wells takes a stylistic turn, tossing their sparse psychedelia to the wind in favor of aloof synthpop. You could lose yourself in the absorbing, stark atmospheres of Infinite Light and its predecessor; these songs feel comparably sterile.

Stephen Wilkinson appears to be mirroring Western trends by going organic. On his seventh LP under the Bibio guise, the English producer’s experimental leanings take on a distinctly naturalistic focus, veering away from the kaleidoscopic blur of 2011’s Mind Bokeh to create a slow-burning sonic collection.