The Dave Grohl production is the best the band has ever had, and the disc absolutely catches fire in a few places, but there’s still a nagging doubt about Rye Coalition.

The music is repetitively tight and although not much more than a three-set EP, The Ganzfeld EP is a strong showing.

For all the energetic, dark, brooding noise of Howling...It Grows and Grows, the Catheters are missing one thing: variety.

There are few efforts as noble as Fink’s attempt to express the realities of human suffering. It’s unfortunate that Invisible Ones can’t consistently relate these messages musically.

Dumb Luck has [its] share of intriguing moments, on a few shining tracks.

Upon first listen, some of Calamity, though fun, sounds like partial ideas rather than full-fledged songs. Some tracks never recover from this symptom after a dozen spins; some do.

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.

Under the Boards, still doesn’t quite live up, it is their best since that timeless classic, "Stay What You Are."

While not every song on Glass Floor is a gem, the best ones here are so good, I can only assume Maritime will be a step forward even for these artists’ illustrious careers.

Despite the experiments with the various flavors of hip-hop and glitch techno, Spacesettings is a solid album from some of the more exciting artists in the IDM scene.

On the whole, Grey Oceans seems to be the same old thing. I wouldn't recommend this to a first time listener of the band.

Barrett combines his best strengths to deliver one of the album’s few shining spots; it’s just a shame there aren’t more of them on here.

It is refreshing to meander through the songs without any clear lines to cling onto or boxes to fit it in.

Grand National takes risks and does it well; these multi-instrumentalists explore different genres, and have made music that is not only accessible but also never repetitive.

It's unconvincing and bland.

With soaring, beautiful vocals, lush layering, intricate guitars and rhythm, and a flair for the dramatic, ...It Falls Apart is both powerful and lovely, at times dark and at times soaringly beautiful, and it is truly the band’s crowning achievement.

Remind Me ... has the feel of two albums compressed into one, and a slightly more minimal approach to instrumentation would have given some of the slower numbers added gravitas.

The songs here seldom rise above the level of being really cute.

Glossy production adds a haze of late summer mist to some cleverly realised songwriting and Hit The Waves is an album that stands on its own terms musically, without its needing to explain itself or its influences.

This record is easily on par with Corgan's solo record as one of the worst things he has ever done.

This isn’t a horrible album by any means, but it also isn’t very good. Sitek has done an astounding job of creating misty atmospheres and it’s these small touches that aid the album in becoming an interesting listen.

The Vision stands far above many of the other products of its genre, and hints at the ability of McClean to eventually gain massive crossover appeal and subvert the trappings and constrictions of his genre.

It is supposed to be shoegaze, and there is enough fuzz to justify the genre, but fuzz is not the good thing about this album. It's the melodies.

Wading through the next 70-plus minutes of wandering noise and blank hissing for the gems was painful, to put it mildly, because when I got to them, they were played off-key and incredibly quickly, as if the band wanted to get it over with and get back to banging on the guitars and making nonsensical noise.

The songs hold up well live, and the recording quality is terrific.

There is not much on The Real Feel that is daring or new in terms of musical explorations, but the emotionally energetic vocals and intestinal fortitude of the lyrics coupled with the honesty and the understated transcendence of the songs is quite alluring.

A good, albeit soft, Brit-pop CD, from a band that continues to mature.

Contrary to what its title might imply, there’s really not a whole lotta "new" goin’ on here.