High Noon showcases Arkells' lofty ambitions, and while it might not be their defining record it's another intriguing step in their evolution.

Presented as a new studio album, it only manages to recapture the band's spirit, rather than its soul.

More tempered and melancholy than on most of his Fruit Bats output, Johnson's writing owes some comparisons to fellow rockers turned film scorers like Jon Brion and Nathan Larson.

With thoughtful lyrics, infectious grooves and catchy riffs, Frozen Letter is sure to bring out the air guitarist (or drummer) in anyone.

With his altered, multi-tracked vocals and ear for dynamic builds, Philpots leads Bear in Heaven on a similar sonic path [as My Morning Jacket's Z], surrounding biting verse-chorus-verse lyricism with ambient laser beams and rubbery textures.

The accomplishment is that the sound is unique and understated. The unpredictable becomes predictable quickly, though.

Everything about the album is deliberately simple, but with some inspired production choices added to the mix.

They Want My Soul is a bold and swaggering declaration that Spoon have undoubtedly still got it--in spades.

The only downside to the album's stripped down sound is that while it makes for a solid play from start to finish, there isn't much differentiation, making it easy to forget which track is which amongst the dozen offerings.

These head-scratching moments mean that, despite the collection's successes, it probably works better as a sheet music oddity than a cohesive album.

Sadly, the album can't maintain that pace, and sags near the end.... Still, the redemptive rest of the album--especially the gorgeous closing title track--make The Voyager a welcome return for Lewis.

The self-proclaimed "Genius, idiot" succeeds for the most part in moving out of his sonic comfort zone while toeing the lyrical line between enlightenment and ignorance.

If the Muffs were a drink they'd be cream soda, and while I'd typically prefer it spiked, that would be contrary to the point; the band's aim is to deliver a simple, somewhat fizzy sound marked by prominent vocal melodies and choppy yet clean chords.

Hypnotic Eye may just be a solid middle-of-the-pack release as far as Petty albums go, but only a fool would complain about having another 45 minutes of music from one of rock & roll's premier units.

Shabazz Palaces offer an ethereal conglomerate with a prophetic voice, a gutsy move that's more than paid off here.

The resulting 12 tracks find Freeman both revelling in and lost within this musical yin and yang.

Corb Lund fans will appreciate the new versions of older material, but the album also has a "greatest hits" feel to it, so it's a fine introduction for the uninitiated.

Their sixth full-length offering, Constricting Rage of the Merciless, is yet another step forward for the already venerable group.

While not flawlessly executed, Common arguably regains some of the relevance he may have lost from his last couple of albums with the focus of Nobody's Smiling.

Never Hungover Again is fully-grown and moves at a steady pace, while remaining characteristic to Joyce Manor's roots.

This record will surprise their fans.

All the Ways You Let me Down is a charming record with plenty to like, just not enough to love.

To The Recently Found Innocent explores welcome new directions; rather than messing with a good formula, Presley has opened up to new ways of approaching it.

Alvvays' debut feels like a warm and fuzzy memory, forging a deeper sense of nostalgia with each repeat visit.

The band manages not to compromise their sound, but on The Black Market, the formula is growing stale.

"Nuage d'Ivoire" is one of Par Avion's highlights, while some slower pieces, like "Reflections," seem to drag on a bit.

Throughout Free Will, Webb sounds calm and inviting, having seemingly settled into his mid-30s. It suits him incredibly well.

Dollars to donuts, there's not one song or style here that "Weird Al" doesn't enhance with his sly social commentary or absurdity. All hail the weird king.