Where their previous record resembled the cozy reunion that it was, Celebrants is a more defining statement from veteran players whose chemistry remains undeniable.

Its gloriously, thoroughly trashy fun makes it a guilt-free fling.

While the first half of the album is more eclectic, the second half is just as groovy although less varied. Unlike bands like The Maccabees, The Kooks and The Wombats, the album holds up all the way through, never repeating the same formula song after song.

Family Crimes sees Skygreen Leopards light years away from the experimental, communal folk sounds that they were drawn to in their earliest days, but still retains the same distant dreaminess, though it's more dedicated to melody than any other chapter of the band's epic, shifting discography.

The song, as with most of of All Days Are Nights, is a bold, absolutely emotionally naked statement that still retains Wainwright's devastating talent for artful, universally compelling songcraft.

Those who gravitated toward her debut will feel a similar pull to this album, though, which essentially reprises "Oh, My Darling’s" sound with slightly more confidence.

The Lights from the Chemical Plant is an inspired, mercurial record, by an artist who cares deeply for tradition, but refuses to be bound by it.

The sound effects that link the songs and clumsy tape edits seem a tad forced,and some of the titles and lyrical themes seem recycled from We All Belong. That being said, Fate is still a thoroughly enjoyable album from a fine band.

At times, the production is so even, the music simply flows out of the speaker without distinction between tracks, but the result is a record that holds together as a nice mood piece while holding up as individual songs.

Their passion for hating Margaret Thatcher, the royal family, and the tyrannical moves by Parliament is a common theme comically twisted throughout the dozen track set list on We Love the City.

Nothing short of astonishing.

It's a tight, cohesive record with a subtle but undeniable resonance, a record that Juliana Hatfield always seemed on the verge of delivering but finally has.

Love in the Future is among Legend's best work, made for couples who are into one another for the long term while feeling a little daring and crazy.

Can't Love is a promising debut that suggests any number of directions for Stanton and company.

In My Feelings (Goin' Thru It) would be among the MC's best work, but Boosie continues to stun even with these instant, and somewhat sloppy, releases, so leave this for the fans, and then consider becoming a fan.

While familiar-sounding, the soundtrack brings something new to the table instead of being a pointless retread, and in general, it just sounds amazing. Definitely worthwhile for any Carpenter or Halloween fans.

At times, Please Excuse Me for Being AntiSocial feels like it's trying to offer something for everyone, and it becomes difficult to locate Ricch's personality among the different window dressings. Regardless, it's a strong collection and highlights how Ricch can mold himself into different styles and keep things exciting in almost any stylistic configuration.

The Evens not just a step forward in the creative careers of MacKaye and Farina, it's a major leap.

While the album is a revolutionary object in that such fantastic filth was born and flourished outside the corporate--and even indie--music industry, production is about the only thing to be objective about, as everything else is polarizing and preaching to the converted.

Even though Information Retrieved is an excellent album, it won't do a whole lot to win over anyone who has already decided that Pinback isn't for them. For everyone else, the album delivers plenty of the gloomy/sunny/plaintive/happy pop that has made them one of the more instantly recognizable bands in the indie landscape.

Girls and Weather loses neither steam nor charm throughout; it's an album for adults who want an excuse to behave like kids again.

This 2009 release is a fine addition to her catalog, although it isn't an album that goes for immediacy.

As with any meeting of pop and noise, Axxa/Abraxas can feel somewhat at odds with itself at times.

The album is certain to satisfy Richter's fans from all around the classical-to-pop spectrum.

Like the films Superman 2 and Aliens, the concept LP Twelve Reasons to Die II meets, and for action junkies exceeds, the high standard set by its predecessor.

Whether consumed by itself or paired with its quieter sibling, Taste excites in a way that Islands have not elicited prior to this release, offering a body-moving experience to balance their typically quirky indie rock tendencies.

It seems that Gardner has found his calling as a psychedelic spaceman, and Somnium is a laid-back delight that's a perfect soundtrack for inner flights and star-filled nights alike.

This need to seize the moment has been one of Bastille's main messages since "Pompeii," and with Doom Days, they prove they can deliver it in increasingly eloquent and relatable ways.