The Lucky Ones is a solid record chock full of classic sludge, pissed off yelps, and witty (almost existential) lyrics.

The more poppy songs here are remarkably good.... But be aware that it's often a jarring listen.

Out of its many blues like qualities the one that I see potentially defining the album as a whole is its rawness.

Overall though, this is quite a solid and fun debut EP.

Origin Vol. 1 could be [a] guilty pleasure album for indie-rock fans, mainly due to the high-quality production.

All Nerve is still a solid enough and welcome addition to The Breeders’ still slender yet always evolving canon.

Although Saltbreakers may have less easy-to-find melodic hooks than its predecessor, it certainly doesn’t lack much in the rich eclecticism stakes.

Black Up is best digested as a whole rather than tune by tune.

Trying to isolate moments on PUMPS! proves fairly fruitless, though. It’s a totally immersive experience, best approached with trust and surrender.

Whilst as a whole The Catastrophist doesn’t surpass the high-watermarks of the band’s almost unimpeachable early-years pioneering, it does stand-up well as a solid and consistent collection to add to the post-millennial phase of the Tortoise canon, with just enough refreshed moves to keep the rust and cobwebs at bay.

There is no shortage of experimentation here.

Popp has once again authored a unique and compelling work. How you decide to sort through it and work it into your own life is up to you.

Unless you demand pure, cutting-edge originality out of your pop music, this is a solid debut effort.

Ultimately this is an engaging pop album with lush sonics, like a guitar-heavy Death Cab album with a less than brilliant singer, which is not a bad thing at all, and should feed the need of fans of alluring, guitar-based indie-rock and keep DCFC fans contented until the release of their new album in May ‘08.

While there isn’t anything as blisteringly heavy as 'Woof & Warp of the Quiet Giant’s Hem,' as gritty and grimy as 'Miss Spiritual Tramp,' or even as trippy and psychedelic as 'Hot Tip/Tough Cub,' there is still plenty to love on Furr.

The whole collection is bound together with such charming confidence and good humour that you’ll easily forget any of the limitations--real or potential--of the unaccompanied unplugged concept that could have been Colin Meloy’s undoing.

Thecontrollersphere is another thrilling addition to the Of Montreal catalog, but it's hardly a welcoming entry point for those unaccustomed to the depraved yet tantalizing world of Kevin Barnes. For longtime fans though, this EP represents another exhilarating turn from one of America's most singular musicians.

The self-produced LP is a stimulating listen with some compelling lo-fi sonic tricks employed with little need for mainstream approval.

Although Violens is a bit remarkable for capturing such a specific sound ...its scope is a bit limited. The trio utilizes the same tones and mostly the same approaches throughout, resulting in only the smallest level of uniqueness for each track.

With synths that convey the techno side behind Scuba's music, Rose allows the songs to flow within each other by way of carefully-placed transitions. There's a strong ear for melody and a terrific depiction of the sunny summer month.

Whilst there are a few archetypal GBV misfires inside Class Clown Spots A UFO – brought about by scattershot recording fidelity and a small imbalance in the quantity over quality ratio – overall it is still a solidly-carved collection.

Whilst this self-titled Mice Parade set may struggle to push Adam Pierce’s envelope much beyond a well-sealed blue-print, it does at least keep the momentum of his low-key career moving along at a respectable and occasionally unpredictable rate.

There is a subtle grandeur to George Lewis Jr.'s voice and musical nature.

It’s simply constructed, confidently attempted and ultimately, radiantly accomplished. And much like that couple [on the album back cover], the album’s missteps are present but there is enough good to prove this is a solid effort.

Malcolm Middleton's position as Scotland's premier musical prankster is more or less entirely cemented by the time the final notes of Human Don't Be Angry fade off into the ironically romanticised Caledonian sunset of Malcolm Middleton's wryly expressed musical imagination.

Strong and very durable, the somewhat live album is an interesting release, with many free-forming ideas and passing blunders abounding.

Somehow all of this organized chaos is put together with clever hooks, resulting in some quite unique and energetic pop/rock tunes.

Overall, as bass-players solo missions go, Right On! fares well in both connecting to and standing apart from the mothership. Admittedly, the record’s best moments could perhaps have been cherry-picked to fold into the next Warpaint album or compressed into a just EP-length statement.