Blistering, incisive and occasionally even surprising, Endless Scroll is anything but dull.

Clark's talent is undeniable, but only when he's not flogging it half to death.

The quality [on End of Daze] is solid to great.

For a moment or two here, Quilt sounds like a lost Pretty Things track, but as mentioned earlier, this is really their own unique creation. And it needs to be heard right now.

The Hospitality of yore does appear on some of the tracks, but it’s clear the group has pushed itself towards newer territories which, while a little enigmatic at first, suit them perfectly.

Their music, those influences intact, circles around a classic rock genre, but without any mediocre redundancy or artificiality.

This is the merde, and essential for anyone interested in the history of alternative dance and 80s electronic and industrial musics.

Well-constructed, sophisticated, relaxing, and pleasant.

Let's Go Eat The Factory proves that the pioneers of lo-fi still do it best.

The real nuances come out when this music is heard closely on headphones, but even when they blare out of speakers, there is something alluring to grab the ear and pull you in.

Like finding a paisley underground in a rain forest, listening to Noctuary will alter your perceptions and give you a chocolate brain melt in a most satisfying way.

The strong creative flow guiding this record indicates that the band’s artistic direction wasn’t solely the vision of Smith.

With IX, Trail of Dead consolidates its stance as one of the ‘aughties’ most consistently interesting prog bands.

These Merritt wonder-tonics may not curl your hair or cure any ailment, but they act as a salve to a multitude of human conditions. Best to stock up and be prepared.

Harding's adept at melding a simple slice of life with irresistible refrains, and that's what allows The Sound of His Own Voice to soar ever so sweetly.

There’s an elusive aura that surrounds this set, suggesting Lord Huron will never pry its door open entirely. Then again, that’s what makes this outfit so fascinating…and possibly so essential.

Good as this is, it could be that much better.

There are no hedonistic celebrations at the level of Wild Onion’s “Strawberry Smoothie” here, as many of the tempos have downshifted to soulful; nor do any of the hooks sink quite as deeply as “Mirror of Time” did.

For much of the album, disparate elements come together in complicated ways that are cerebral, sensual and spiritual all at once. Nicely done.

After 14 years they show no signs of slowing down and you know what you don't want them too because they haven't even come close to sucking. It's a win win for all of us.

It’s actually a great record once you give up all preconceived notions of what to expect.

While not his best effort to date, there are still some standout songs on this one.

With breathy singing and lush production as the connecting skein, Stupid Things That Mean the World puts Bowness firmly on the same level as David Sylvian, Peter Gabriel and other masters of adapting high art to accessible pop.

A few of the tunes seem to want to ape the front cover of waterfalls and Jesus-long hair ("Sore Eyes," "Locusts" etc.) but most of Almanac is able to bring a love of the past into the right now and (usually) make it seem effortless.

Songs like “Preludes,” “Tracking Shots,” “Tangletown” and “Rescue Blues” find his pliable vocals emitting that certain verve and swagger.

Syd Arthur avoids any whiff of trendiness and just gets down to the business of writing and performing timeless music on its second record Sound Mirror.

Every Step's A Yes is a stylistic mish-mash with a few notable gems worthy of downloading.

Essential Tremors hides some of the bands’ strongest songs in years. You just have to dig for them.