Believe us, deeming something “floaty”, one of the most silliest and over-used descriptors of the music blogger lexicon, is about as annoying for us to write (again) as it is for you to see (again), but sometimes it really is just the perfectly succinct way to sum up a song.

Case in point, Portland indie duo Pure Bathing Culture‘s “Pendulum”, a chill, smoldering wonder that, fueled by Sarah Versprille’s ethereal coos and her and bandmate Dan Hindman’s lush bed of 80′s-indebted electro-pop gleam, seems to hover somewhere above the ground and below the clouds while emitting the same sort of calming, senses-massaging euphoria we usually can only achieve when marathon-watching old clips of Bob Ross’ The Joy of Painting on YouTube.

Hit play below and it’s very likely you won’t ever want to escape from its blanketing layers of dream-pop bliss ever again.

Look for Pure Bathing Culture’s full-length debut Moon Tides to drop August 20th on Partisan Records in the U.S. and August 19th via Memphis Industries in the UK.

You can go ahead and file Kid Masterpiece in the column of “Beatmakers Who Have No Interest In Ever Resting For Too Long”.

In the past week alone, the rising Montreal-based producer has added to his already fantastic 2013 portfolio with not just one but two stellar remixes, this time turning his focus to more recent R&B favorites.

Masterpiece’s take on the latest Jeremih single, Thumpy Johnson lead preview “All The Time”, lives up to his previously established affinity for seductive bedroom grooves by repainting the woozy nocturnal sex jam with a late ’90′s Timbaland-inspired brush; but most notable is the re-edit job he gives to MNEK’s cover of the Disclosure/ AlunaGeorge jam “White Noise”, his blending of MNEK’s soulful chops, a deeply throbbing house thump, and a cleverly utilized sample of Timmy Thomas’ spine-tingling ’70′s soul classic “Why Can’t We Live Together” giving the “White Noise” remake a haunting, deconstructed bossa-nova-meets-club sparseness deserving of being made into its own official single.

Though the reunited Goodie Mob have been popping up here and there with live gigs and one-off tracks since 2007, fans have had to endure the frustration of many promised release dates of their first group album since 2004′s Cee-Lo-less One Monkey Don’t Stop No Show coming and going with no full-length product to be found.

That effort, now entitled Age Against The Machine, is now set for an August 27th arrival, and while we won’t necessarily be holding our breath for an album that could very well end up getting pushed back again, it has produced a brand new track in the form of “Special Education”, a cut teaming the Mob up with Janelle Monae.

An ode to being unique that encourages to others the benefit of walking their own lane (“It’s kind of sad and it’s a shame, that everyone wants to be the same,” laments Monae on the hook), “Education” practices what it preaches production-wise thanks to its clattering, space-age twist on Southern-fried G-funk, but as tough as that beat and the Monae grab is, its hearing Khujo (“I eat nuclear waste and spit atomic bombs”), T-Mo, Big Gipp and (a rapping!!) Cee-Lo all together again on the same track spitting heat-rock rhymes that brings out the most satisfaction.

Thanks to his star turn on Daft Punk’s “Get Lucky”, public interest in a new solo project from Pharrell is no doubt peaking in the red right about now. Smartly looking to use that record’s worldwide-crushing momentum to his benefit, the distinctive-voiced hitmaker has issued out another goodie in the form of “Happy”, one of three tracks he has contributed to the June 18th-due Despicable Me 2 Soundtrack.

A sunny burst of clap-happy soul that further showcases Pharrell’s well-established love for the retro in its channeling of names like Ray Charles and Curtis Mayfield and fellow yester-year-adoring contemporaries Cee-Lo Green and Janelle Monae, “Happy” finds the Neptunes crooner polishing off his signature falsetto to celebrate the internal feel-good high that has him feeling like a “a room without a roof” and a “hot air balloon that can go to space”.

An interesting choice of words to illustrate his personal ride on cloud nine no doubt, but the track definitely gets its point across, its spirited, contagious bop and those deliciously stacked vocals on the chorus having the power to inject in the masses all the necessary elements to keep frowns upside down long after its left the speakers.

The original version of mysterious London duo Snakehips‘ “On & On” was pretty much A+ on it’s own, its sensual, electro(& Ciara-sample)-glazed R&B shimmer and guest star/ Aussie vocalist George Maple‘s lovely, effortless pipes equaling a relaxing hip hop-soul summer jam slow burn that made any attempt to remix the tune pointless, as such efforts would be bound to chip away at the song’s perfection…

…that is, apparently, unless the people doing the remixing would happen to be the lead act themselves.

Yes, having an artist remixing their own work would usually be the kind of head-scratching move deserving of its own file in the “Where They Do That At?” folder, but Snakehips not only do just that with this amusingly titled “Snakehips Edit” of a Snakehips tune, but ultimately end up creating something that kinda-sorta bests the original, slightly upping the track’s tempo bump and inviting in a near-unrecognizable sample of Change & Luther Vandross’ post-disco gem “Glow of Love” (known to most younger folks as the looped groove behind Janet Jackson’s 2001 No. 1 “All For You”) for an even sweeter serving of “On & On” that’s sure to get played (get ready to groan) “on and on” for the foreseeable future.

The latest in a long line of male/ female duo outfits unleashed in the past year to penetrate the blogosphere with a strong early buzz, Virginia duo Sunny & Gabe (vocalist/ writer Sunny Gicz and producer/ writer Gabe Niles) quickly make their mark as an act to watch with the sound of their newest release “Clouds”.

A striking slab of hazed-over indie pop-soul that feels like something carved out of a daydream, “Clouds” features a whole lot of everything going on in its near-seven minute frame, but the track’s blend of Gicz’ gorgeous vocal melodics and Niles’ densely layered, patchwork-like production (slyly aided along by a sample of Q-Tip’s “Breathe & Stop”) never once toes over the line into being overwhelming, its artsy soundbed instead managing to nestle into a soothing, Afro-rhythmic comfort zone that delightfully pitches the record as some sort of sibling record to Solange’s “Losing You” while all the while establishing itself as a must-have accompaniment for the lazy summer afternoons to come.

Look for Sunny & Gabe’s Free Candy project to drop sometime this summer.

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Thanks to some killer trap-styled makeovers of cuts from The xx, 17-year-old BeazyTymes has been making his biggest on-line impression yet in recent weeks. That trend should only continue with his latest xx flip, a remix of “Unfold” that re-imagines the Coexist track as something Trent Renznor and Timbaland could have possibly concocted together in the studio.

Interestingly enough though, that wasn’t the best thing to emerge last week with BeazyTymes’ name attached.

Nope, that honor would have to fall on “Untouchable”, a collaborative piece with London-based beatsmith GameFace built around a sampled chunk of the Patti Smith/ Bruce Springsteen classic “Because The Night”.

Similar to “The Leaves Are Brown”, the attention-grabbing GameFace/ Hucci team-up that excellently updated The Mamas and The Papas’ “California Dreamin’” for the trap fiend, “Untouchable” (from GameFace’s new freEP Alpha Centauri) offers a pretty dope blend of a yesteryear fan fave with modern-day beat tricks, chopping and screwing overly familiar portions of “Night” all kinds of infectious ways alongside a variety of ever-mutating sonic seasonings that’s sure to delight the pop-locking B-boy/ girl and hip hop freestyler that lives inside all of us.

Ever wonder what kind of mind-blowing sonic magic could be concocted if Haim were taken under the wing of Prince, or what would have happened if, after getting the Purple One to bless her solo hit “Stand Back”, Stevie Nicks had convinced the rest of Fleetwood Mac to take a trip down to Paisley Park Studios to purify some of their group material in the waters of Lake Minnetonka?

This is the kind of exciting musical act mathematics that pierces the brain waves when immersed in the unique genre-meshing concoction of Aussie five-piece The Preatures‘ “Is This How You Feel?”, an 80′s-leaning track that coolly marries elements of pop, rock and Mr. “Purple Rain”‘s Minneapolis sound in a way that’s impossible to hear just once without feeling the need to hit the replay button a couple extra times.

Love the tightly wound, bass-driven rock-funk pep on the verses and the addicting way dual vocalists Isabella Manfredi and Gideon Bensen teasingly purr and hiccup out the song’s lyrics in and out of harmony, but it’s the work of the main chorus that really triggers our pleasure center zones: bright and melodic guitar licks, crisp drum claps and Manfredi and Benson’s pleading titular cries helping to open up the track’s central groove with a killer Prince & The Revolution-like spunk that leaves us ready to bop around and bounce against walls like overly-giddy children spiked on a diet of nothing but sugar.

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Think being young, gifted and authentic would make life a breeze? On the sobering “Y.G.A.” (from the forthcoming Young & Proud mixtape), Bronx emcee Noah Vinson tells us to think again, spotlighting just how far from smooth sailing such an existence can be.

Here, supported by L.A. producer Sirplus’ looping of Willie Hutch’s 1973 remake of the Michael Jackson/ Motown classic “I Wanna Be Where You Are”, Vinson relates the struggles of trying to keep his head above water as stressful realities slam him from every which way, whether its him attempting to wade through the deceitful intent of others and trying not to become another “statistic to crime”, or him dealing with the frustrations of an unreliable career choice as well as the hard-to-ignore concerns over his own health (“I remember the day my auntie died of cancer/ Genetically I’m subject to the same shit…”).

For most, all this weight bearing so heavy on the mind and soul could prove too much, but Vinson refuses to let it all keep him completely down, the traces of rosy optimism embedded within his slick and confident flow, unwavering mic hunger and intelligent prose (not to mention Sirplus’ buoyant soul sample) offering a reassuring reminder that no matter how tough life gets, one should never lose hope for a better tomorrow.

With Sam Sparro being one of those vocalists we would gladly pay top dollar to see sing the phonebook and Daft Punk’s already-billion-times-over-remixed/ covered “Get Lucky” firmly planted as one of the jammiest jams of the year, having the two entities join forces would of course end up something special.

Sparro’s cover of the track accomplishes that and more, his soulful divo pipes and a sleek, four-on-the-floor disco-synth arrangement managing to sit hand and hand with the original as a primary go-to feel-good source for not only the heatwave season lying just around the corner, but the rest of 2013.

Sparro’s latest album, Return To Paradise, is available now; stream Daft Punk’s May 21st-due Random Access Memories in full via iTunes.