It doesn't travel any really adventurous ground, but it's a solid little entry for hot weather.

It still doesn't quite have the emotional grab of some of their older work despite the addition of more vocals and a slightly more glossy sound.

If you haven't discovered the group yet, by all means snap up this lush slab of synth pop.

Probably his most varied release yet.

It's not quite along the same lines as the ultra-drastic change from Start Breaking My Heart to Up In Flames by Manitoba/Caribou, but it's a somewhat similar jump.

Although there are a couple tracks that are a bit more padding than needed, but overall this is a career compilation that's definitely worth having.

Although there are some moments of greatness on the disc, it feels more like a cathartic vent-session than a well thought-out release.

It's sort of a bi-polar album of sorts, as it probably could have been cut down a lot in length and made into a concise gem of an album, but then you'd lose the odd atmosphere of the rest (which will either drive you nuts or space you out).

The problem is that it's just not very engaging, treading the same cinematic-heavy soundscapes over and over again without much in the way of dynamics or anything new in terms of sound.

It feels more like a transitional album than the next level for the group.

Again shows that Eitzel is a total gem of a singer/songwriter.

Probably now their most accessible album, as they change things up a lot more than they have with past releases, implementing different sounds in nearly every track.

When they keep things a little more subtle, Silent Shout is outstanding, but in other places it's just sorta there.

It's a diverse album in terms of textures, and those extra layers help give the band a developed sound beyond most debut releases.

Loney, Noir is an excellent little album and a great precursor to spring that seems so far away right now.

Imagine a highly narcotic Shins with even more subtle instrumentation and you're getting somewhere close.

As always, Can Cladders is immaculately-produced, with an airy feel that emphasizes the breezy songs.

While it's true that the sheer precision of their playing is what makes some songs as great as they are, the organic touches of horns and textural washes of electronics help the group move into ground that hasn't been mined as much.

The Humbucking Coil doesn't really tread any new ground for Fleischmann, but it's another enjoyable and solid little release in his discography.

Because this is a more personal affair, your tolerance for this release will largely depend on your acceptance of Martsch's voice.

The one-two punch of "Blue Lights" and "Chemical, Chemical" will be making year-end mix CDs like crazy.

Fans of Macha might find the release lacking a bit in the percussion area, but The Ride makes up for it some with atmosphere.

If you're a fan of their older work, you'll probably find yourself a bit turned-off here, but if you're a fan of well-played rock music with an ocassional burst to make it stick out from the masses doing the same, Final Straw might be something to check out.

Among his best work to date, Cosmos finds Corona expanding his boundaries even more and in the process creating something more timeless.

Sure, he's great at using a 909, but he's already progressed past the music he's made with Closer, and much of the time it feels like falling back on old habit for lack of new ideas.

All in all, the release probably would have worked better as an extended EP instead of nearly an hourlength rumination on one track and ideas that spawned from it.

Inconsistent, but charming in places and insanely catchy in others, Everything/Everything presents Simon Bookish as someone to keep an ear out for.

A technicolor blast that pairs hooky guitar and keyboard riffs with plenty of four on the floor beats and sing-along vocals.