If you like instrumental hip-hop and don't mind a few tracks with vocals (most of which are quite well done), Soft Money is worth checking out.

Push The Heart is easily the most developed batch of songs from the group, easing through ten assured tracks of soft orchestral pop.

It doesn't always work, but there are more than enough explosive moments to pick up the slack.

Easily the most plain-sounding album that LaValle has released to date.

The album is rather hit or miss. There are a handful of standout tracks, another handful of ones that are simply decent, and yet a couple more that don't really raise the pulse level at all.

Leave Your Name is 11 tracks and only 28 minutes long, about half of which feels like noodling.

If you could imagine a cross between Wilco and Flaming Lips with just about everything challenging and interesting sucked out of it, it might sound something like this.

It's definitely about as disjointed as they come, and while that loose style seems to invigorate some tracks, it makes for a release that's downright hard to listen to in places.

If you're fan of the previous work of Pole, tread gently (and skip the EPs and head directly for the album), but if you're looking to just start out with some of his work, head for his earlier releases.

In the end Just A Souvenir isn't quite as consistent as it could be, but it offers a nice new direction that will likely have a bit more staying power.

While there are a couple of tracks that are completely amazing, the album as a whole could have used a little better sequencing to make it more tight.

While not every single thing they try works, it's still a very enjoyable listen.

In essence, it still sounds like Fridge, but they've decided to look backwards just as much (and possibly more) than they looked forwards.

It's kind of a whopper to digest all at once, but if you've heard Momus before and liked him, you're not going to go wrong here.

An ambitious, if flawed new album that once again tries to include many different things on one release, but unfortunately stumbles in several places.

If you're a fan of the group through thick and thin, there will definitely be enough to love here. If you want to know the best place to start with Trans Am, that place is still Futureworld.

A varied and interesting album that is also a bit hit-or-miss.

Given the past work from the group, Gimme Trouble is a major curveball, seemingly reveling in just about everything tacky about electroclash.

It was a valiant try, but Tiny Cities just doesn't have a lot going for it unless you're a die-hard fan of Kozelek.

If you're a hardcore fan of Underworld, you'll find some things to love here (as I did), but others will probably want to reach for something more consistent.

Free jazz fiends and fans of the first volume will find plenty to love here.

In terms of overall sound and cohesion, it's a step up from the debut by the group, but it's almost clinical in precision and slightly numbing with riff after riff blasting away with the same sort of glossy production.

Goodbye has a tendency to blur together in many places during the course of ten tracks and just under an hour in running length. If you like his past work, you might want to check this one out, but others will probably want to take a pass.

Despite the inconsistencies, Hello Everything is one of the best things that Jenkinson has done in some time.

Woozy and stark, City Of Refuge is one of those releases that never really shifts dynamics too much (there's no rhythm section on the entire album) and feels a bit longer than it actually is.

While it doesn't work stunningly as a whole, there are places where the group comes together to create dark and blistering rock tracks that stand with the best work they've ever done.

Even if the lyrical content is supposed to be ironic, it's still pretty horrible.

While they have incorporated new sounds into their palette, the sonic experiments don't quite work all the time and the album suffers a bit in places because of that.