On the evidence of this EP, Malibu can turn her dreams into quite real music.

Unabashed psych/pop? Sure. But done quite brilliantly, and that is already a level where you don’t really care, where something originated musically.

In This Place is a prime example of a high-quality singer/songwriter album that skillfully skips the doors of boredom.

Throughout, the album, you get the feeling that things might fall apart at any moment, but they never do, keeping the listener tight inside its intricate web of lies. Or truths, who knows.

Overall, There’s Much Left to Explore brings back some successful concepts in electronic music with a definite individual angle, and it is so refreshing to hear them again.

It seems that Busty and the Bass are on an imaginative streak, and all the ET versions presented on this EP deserve full attention.

Head of Roses is a very personal album that practically any listener can both comprehend and enjoy.

Essentially, this is the same Kip Berman his fans know him from The Pains of Being Pure at Heart, but one who can adapt different musical concepts with ease.

He(Diab) is able to easily overcome one of the key hurdles in a drone – giving the music a natural flow and pace that will engage the listener throughout the presented musical experience.

And yes, the album has that clouds shifting round at different speed levels feel that is both fascinating and exhilarating at the same time.

Yes, Miscellany is certainly thinking-persons music, but one that, while it engages the listener falls so easy, even on the most jaded ears.

Tethers boasts one of the best qualities in albums. The more it plays, the more some musical layers hidden in the grooves come to light.

All of the impressive musical shades presented on the album are wrapped up in Svanängen’s ever-present falsetto vocals that take the main role here and create exactly the atmosphere he seems to aim for.

If you ever wondered what a Depeche Mode/LCD Soundsystem with a few other touches combination would sound like, you might just as well start here.

Australian trio boWsER show their hard rock chops, and fans of unabated hard rock will revel in this one.

Sadness, melancholy, if you will, permeates No Such Thing As Free Will with some subdued, but at the same time impressive sounds.

Listening to Retro it just seems that Simon McKechnie is attempting to restore prog’s good name in one big sweep.

As is the cover of the album, this album is yet another of Van Gaalen’s exquisite pieces.

Maybe that mini in this mini-album has more to do with musical minimalism, but one that has a maxi effect.

At no moment do you get the feeling that this is a mechanical mashup of different musical narratives but of music that has its organic, natural flow, pushing the limits of different genres the way it just feels it should be done.

Post Death Soundtrack is able to come up with a one-track EP with another two (remix) versions that actually work.