Sure, it's nice to hear such a talented songwriter working with ease and precision, but it's just not always that interesting.

While making this album worth the wait was a tall task, Between The Times & The Tides comes about as close as we could have hoped to accomplishing just that.

Delta Spirit delivers a handful of superb cuts that have the band taking a modest step forward.

Ekstasis is a challenging listen, but a rewarding one.

While One Second of Love contains this personal touch of sound, it isn't used to potential.

Wrecking Ball is an album that will reinforce most everyone's preexisting opinion of The Boss, whether they be good or bad.

While it's an album prime for some excellent live renditions, it's the tendency to brood too much or even approach tedium at some points leaves further room for the development of this sound.

Ssss is absorbing techno to listen to and proof that well written music outscores clever production tricks any day of the week.

While there are plenty of fantastic moments to be found and the album is certainly recommendable, its sluggishly repetitive second half reminds the listener too often of exactly what the strengths and weaknesses of this band are.

White Rabbits have made a record that is truly their own, so much so that at points it hurts the record.

As an album, it's ultimately too bogged down by its professionalism and erraticism to come together very well.

The strongest album of their career thus far.

Zoo is a well-produced record that captures a band on its way up the ladder.

Open Your Heart is incredibly intricate and technically masterful.

On first listen to Fanfarlo's sophomore effort, it doesn't leave a lasting impression, but with repeat listens, more and more intricacies start to creep out of the woodwork.

It's the beginning of something that is very promising--a surprise reinvention from an artist many had assumed they'd already figured out.

The end result then, is the sound of Bird settling down, becoming comfortable with his music and letting it come off as natural, without losing the sense of enjoyment and the hypnotic dynamism of his core elements.

The version the band have made is still a solid, if not rather good, Kaiser Chiefs album. [Review of UK release The Future Is Medieval]

The lack of "slower" numbers doesn't really feel like a valid criticism, though, especially when the band really are at their best when they're riding a burst energy.

Quite simply, Plumb is how pop music should sound.

These are stories we've already heard told better, and in the same voices.

The record is 15 short vignettes about lost, unattainable, suboptimal, or just plain impossible love, and The Fields nail each and every one.

Ternion is a greatly entertaining album with plenty of replay value, especially in those stand out tracks.

The Russian Wilds is hardly going to shock you to the core, but it's a more than able record by one of the most consistently strong groups in its genre.

If you take one thing away from this debut, take away the fact that it's thoroughly deserved.

Toward the Low Sun staggers to get that momentum, though it does achieve atonement through progression.

52 minutes is a pretty damn lengthy runtime for a debut synth-pop album, but TRST flies by.

The moments of brightness--some poetry here, a brief pop moment there--will get most listeners through the album, but won't inspire them to keep coming back.