If the group can somehow capture the more experimental and even odd edge of their different mixes, I think they might have something going. When they're just doing their thing, they simply sound like far too many other bands that are just trying to milk the legacy of the Jesus And Mary Chain a bit longer.

I'm not sure if it's the lack of a clear-cut conceptual idea or something else, but the 11 songs on the release just seem to plow along through waters that the group has already rowed many times before.

Considering at least part of the groups charm was their ability to surprise, there's simply not enough of that here as a whole, and In Arm's Way suffers because of it.

It has enough winners to make it something to hunt down if you like the group.

It's not a world-changer, but it's certainly one of the more fun pop albums that I've heard this year so far.

I simply can't imagine a time when I'd put this disc on for pleasure listening, but considering Halloween is coming up, Burned Mind is the perfect thing if you want to scare the bejeebus out of the neighborhood children.

Many of the tracks on the latter half of the release simply don't change that much, and for that reason it's a little hard to just pop in the player and sit down to listen to unless you're into repetitive, harsh electronic dance music.

Although it's loud in places, it doesn't sound as overstuffed as the past couple releases from the group, and that's a nice change.

In the end, it's not going to change the world, but it shows that the group is definitely expanding (in a good way) their sound from their early days.

With ten songs running a hair under forty minutes, it's a concise debut that hits the mark a good portion of the time while introducing All The Saints as someone to really keep an eye on.

It's the sort of release that metal fans will probably like because it offers plenty of chunk-tastic riffs (that aren't too far off from newer, more polished work from Helmet), but dub fans will probably steer clear from because of it's focus on said heavy-fisted bombast.

If you go back to the touchpoints of the era in terms of music, there's certainly plenty of awful lyrics, and while I can often overlook lyrics if the music itself is strong, Saturdays = Youth sometimes lapses into a sort of emo shoegazer feel that's simply a bit too sickly-sweet for me.

As with most other first releases, though, it's a a bit inconsistent in places, but all in all, Smoke is a fun and sometimes great debut from a young artist.

Great in moments and undecided in others, The Grand Archives show hints of promise here, but don't really have enough to set them apart.

Adamson isn't above mixing wacca-chika guitars with soaring strings and following it up with haunting instrumentals, and unlike some odd hybrids on former releases, this disc pulls most of it off quite well.

Essentially, if you've heard the group before, you know what you're getting into here, and if you enjoy them you won't be let down.

It's true that if you've listened to a lot of kraut music, you've probably heard a fair amount of work like this, but Reinhardt has put together a lovely little release here that's topped off with some great artwork and design.

It's not their best work to date, but it definitely taps into a deep well of both anger and despair.

There's still plenty to enjoy, but it's by no means a smooth ride.

In the end, it doesn't really matter that it's the soundtrack to a video game that I'll never play. It's a new Amon Tobin album (and a good one at that), and that's all I need.

While it might not be a full exclamation point ending to their career, it's far better than a fall on the face.

Unless you're a big fan of the group, though, you'll probably find Do It! more than a little frustrating.

Easily the least indulgent of the releases for the group thus far.

There are moments where the two seem to sync up nicely and really unveil something beautiful and unique, but there are far too many other passages where the pairing doesn't quite seem to fully jel.

While everything on the release is technically put together well and even sometimes compelling (the two album-opening tracks work about the best), most of the time things feel like they've been written specifically for the person who's singing them.

It's All Around You has both serious ambience and serious grooves, it rocks occasionally, and it doesn't dip into jazz nearly as much as some of their past releases.

In the end, this is a perfectly passable release if you need something to play in the background at your next cocktail party or if you're a dentist looking for something to play in the background.

While the beats and programming are done well, much of it simply seems like slight variations on tracks that he's already done.