This combination of fluidity and structure makes Frying On This Rock an absorbing, headphone-centric listen that only demands that the listener turn up the volume and hand over control.

Wreck ain't perfect but it certainly does the Unsane legacy ample justice and should satisfy most fans' hankering for sonic self-abuse.

Their richest and most varied album to date.

The combination of precisely crafted pop and fiercely imaginative arrangements results in a thrilling listen.

What comes across most effectively is the ease that both Roberts and Morrison have with one another. Their vocals settle in together comfortably. That feeling adds even more bubbling warmth to this already toasty disc.

Thoughtfully crafted and full of melancholic lyricism and quietly desperate romanticism, My Head Is an Animal should appeal to any fan--whether man or monster--of sweet and wide-eyed folk-rock.

Black Dice maintain the high experimental standards that made their other records cult favorites, and manage to present their spectrum of squelches in a more focused way than usual, without sacrificing playfulness.

While the album title suggests that Winston's talents may be less than genuine, King Con is never anything less than truly inspired.

Folila is great music. Period.

These are slick but straightforward productions that mix a deft synth and drum program studio vibe with a warm, overall earthy vibe.

There are a few lesser moments, but they don't distract; Slipstream reveals Raitt at another creative peak.

Admirers of Griffith's earliest recordings will no doubt delight in Intersection as much for its familiarity as the quality of its songwriting and performances.

"Boat Trip" is the album's strongest moment, a gently treading meeting of spacy Fleet Foxes-style harmonies and buried aquatic melodies cribbed from post-SMiLE-era Brian Wilson mania.

It's just a flat-out good-time rock & roll record and that's all that really matters.

It feels like they've channeled the looseness of their playing on Survival into a willingness to try anything once, and fortunately, most of their experiments stick.

Fans who were wondering if Ward's mainstream successes would yield a stylistic sea change can rest easy, as his signature, sepia-tone demeanor, for better or for worse, remains steadfast.

Vol. 1 is commendable and helps make the album a worthy addition to White Fence's excellently warped catalog.

Like strangers arguing in public or a weary couple who went out to dinner just to break up loudly in the restaurant, Acousmatic Sorcery offers a similar, sometimes unbearably honest look into a very personal world.

Prisoner remains one of the boldest statements of intent from a fledgling act this year, and while it will be a little too intense for some, it pinpoints the Jezabels as one of the bands to watch from Australia's thriving indie rock scene.

Rant goes far beyond any glee club or barbershop perceptions with its reverence and creativity; while it may not change the mind of anyone who thinks a capella pop music is inherently hokey, it's still one of the Futureheads' most exciting albums.

While De Vermis Mysteriis is probably not the group's finest hour (2002's Surrounded by Thieves still bears that distinction), it is nonetheless a very fine hour indeed.

Breton sound more natural when they let their rock side dominate.

Royal Baths' singing and playing have grown significantly since their debut.

There's a roving chaos to the disc, not completely divorced from the springy shifts of his other band, but definitely a different animal.

Regardless of how his bandmates might feel, those who like their indie pop filled with soft light and tender beauty will fall in love with this album quite easily.

Individually and together, these records are as potent, squalling, and beautiful as when they were issued.

It's clear that the gore-obsessed band shows no signs of slowing down.

Spooky Action at a Distance might be more low-key than some of Pundt's other work with and without Lotus Plaza, but it's still a great showcase for his winsome songs.