Contains some of their best work, as well as some of their most indulgent.

I'll give them some credit for trying some new things, I only wish they would have taken things a step further.

While the group are certainly impressive in performance, they can't break free from an almost mechanical feel that lingers and really holds the album back.

On first listen, it's not as immediately accessible as Up In Flames... [but it] reveals itself in several listens and contains yet another batch of fearless tracks from an artist who simply refuses to sit still.

[Most] of the album just sort of swirls through some nicely-produced, but ultimately not very engaging sonic fluff.

At the end of it all, Guns And Drums feels more like an inconsistent experiment than a full fledged step forward.

It's the sort of album that at times sounds like the group simply threw everything against the wall and hoped that something would stick. In many cases, it did, but in others it sounds like a raucous mess.

Even the tracks that don't quite work don't miss the mark by much, and while there's nothing too flashy going on within, the solid overall quality of the 12 tracks and 50 minutes of music is somewhat of a rarity.

The simplicity of it all (only one instrument and vocals) highlights her vocals even more and even when the disc closes out with the more upbeat "Sea Of Love," you'll still feel a bit of melancholy hovering over.

Good, but not outstanding.

Less visceral than "Cryptograms," this follow-up shows two sides of a group that still hasn't quite figured out exactly what they want to be.

Insignificance is the release that finds him hitting his stride completely, seemingly mixing little bits of all the different styles that he's poked around with and boiling it all down into a cohesive little release.

Like all pop music that treads so close to the overly-sappy line, the release stumbles only when it moves a little too close to adult contemporary. Fortunately, it only does that a couple of times.

This album is a great deal of fun.

One of the better British rock discs that I've heard in awhile.

A lot different than the release under his own name, Audion is enough to make you sweat a bit whether you use it for dancing or as a soundtrack for *ahem* other activities.

Not as good as the best work from Kozelek, and a long shot from the worst, April is a solid, if not surprising album that should be just enough for fans.

While all the songs are nicely performed and recorded, they simply don't capture the amazing qualities of Case and her band.

This is Jens Lekman, and what he does best is create overly-sweet pop songs, so it's hard to complain too much.

It's not quite straight-up noise, and it's certainly not dance music, but if you like a bit of both, this debut from Fuck Buttons should make you a bit giddy.

Even if you haven't liked the group in the past, you might very well find yourself won over by Fabulous Muscles.

The Flying Club Cup doesn't feel quite as revelatory as the debut from the group. That said, it's still a solid follow-up, and the collaboration with Palette really pays dividends in grandiosity of sound.

This is one concept album that doesn't forsake listenability for pure experimentation.

Wind In The Wires just feels a bit more hesitant than Lycanthropy, and while there are some great tracks, it doesn't quite have the same energy that his debut did.

For most other groups, it would be a winner, but for Built To Spill it's a slight comedown from their stellar streak.

It's not the sort of release that throws a lot of curveballs, but Saturnalia is nonetheless a solid album from two veteran musicians.

It's not that The Slow Wonder is a bummer by any means, because it's not. It's simply not riding quite the same giddy highs as work by his previous groups.

An outstanding debut album, and easily one of my favorite releases of the year so far.