There may not be anything particularly revelatory about June 2009, but it's a nice batch of tunes and anyone who's new to Bundick's work will appreciate this glimpse into the early days.

Diamond Rugs is a lot more fun and less self-conscious than what Deer Tick usually delivers.

The whole feeling of The Shadow Gallery is something that is pretty familiar on the one hand, yet polished and assembled into something strong on its own, surprisingly alive and distinct from the get-go.

An enjoyable creation that, despite its clear roots, has its own logic and general aesthetic.

Evans the Death is a stunning debut that may not change the way you think about indie rock, but the band plays with so much passion and the songs are so good, it doesn't matter that maybe you've heard it (in some form) before.

While not everything works on Let the People Speak, it has enough originality and energy that it bodes well for wherever Clark and Black want to go next.

It's all arranged like a well-sequenced album, with some tracks slightly altered for the sake of maintaining a steady flow. No energy swing is jarring, yet it's no sonic flatland. It suits its purpose with a dark, warm glow.

Diamandis is trying to expose the artifice of big-box pop music by using its own voice, and despite the obvious trappings of the concept, she does a fairly respectable job.

Suckers have turned in a respectable album of big sounds and strong melodies.

You've got good set track by track, but compared to his Revenue Retrievin' onslaught, which was sorted into thematic sets (Day, Night, etc.), these unwieldy Block Brochures come off as a hyphy data dump, leaving all executive production up to the listener.

Capping it off is the giant, bright soul that fuels "Sidewalk Memorial," and while that's a worthy exit for a project so impossibly huge, everything between the bookends is thrown about.

Grey's voice is much grittier live than on records, it is a catalyst for the band to build upon and they do so whenever presented with the opportunity.

All told, Born Villain is as valiant and exciting an effort as the group has come up with in years.

Listeners willing to devote an hour--rather than a rushed five-minute scan of the first 30 seconds of each cut--to this unassuming little gem will likely want to revisit it again and again.

This is bold pop-rap at an "Arena" level, and while partying like a rock star means cohesiveness takes a hit, Strange Clouds is still thrilling and persuasive.

With Novak's world-class sneer resting on top, this is a good set of bad vibes, and rock & roll malcontents should put this album on their want lists pronto.

Reptar aren't afraid to grow up but they're gonna have fun getting there, and with Body Faucet they succeed in doing both.

Strangeland never really lives up to its mysterious title, as there's nothing on it that doesn't feel willfully nostalgic, but like any good plate of comfort food it satisfies in a way that more adventurous meals never truly can.

Think "winning formula" instead of "formulaic" and you're close to the value of Evolution, which along with Ferry Corsten's equally great WKND makes "trance ain't dead" the unofficial motto of 2012.

What you've got here is basically an excellent soundtrack for reading novels by unhappy authors, or for staring out the window on a drizzly day.

What once was futuristic now sounds nostalgic -- or to borrow a title from another member from the class of 1995, "Brand New You're Retro" -- and that's the appeal of Not Your Kind of People, for better or worse.

A Joyful Noise isn't as raw or immediate as any of the Gossip's earlier albums, which makes it a bit of a grower for anyone attached to the band's previous firepower.

While the world might miss the raw energy and exuberance of their earlier work, the more precise and mature band found on Exister is still as effective, and is definitely one that fans will want to stop and catch up with.

This is a stronger, more mature, and more effective work than one might have expected.

From the first notes of their sophomore LP Dismania, the grime, depravity, desperation, and sometimes fun of [New York City] come through in screaming waves.

While it isn't all great, most of it is, and while this isn't the best way for newcomers to acquaint themselves with Fela Kuti's music, it is an essential document for fans.

What keeps Family Perfume, Vol. 2 interesting even with its dips into overly derivative songcraft is its constantly shifting production.

There's a confidence about the performances on the album that make Go! Pop! Bang! a debut full of enthusiasm and promise that will hopefully ring in the beginning of a bright new talent.