Den is a great complement to Tank and like its predecessor, its main fault is that it's far too short.

The tech-house producer has attempted to cultivate his dusty electro landscapes, leaving the listener with seven hearty compositions built upon loose and fertile groundwork.

What we get on Psychedelic Pill are stream-of-consciousness attempts ("Driftin' Back"), along with musings on the grim reality of old age ("Ramada Inn") and the regrets that come with it ("Walk Like A Giant").

Civil Disobedience functions well as a single purpose stoner rock record, but fails to offer anything new or exciting.

The lyrics are still full of cutting observations and social critiques (take the anti-capitalism slant of "Corporate Elect," for example), but the urgency driving 2010's Absolute Dissent has shifted into something more akin to a sense of anticipation.

Hidden Orchestra occasionally skirt the borderline of cheese, but thankfully manage to stay on the right side of it, for the most part.

There's a hidden level of responsibility in his words, with Mill striking a balance between the glorification and the lamentation of his actions.

Fourth album Mirage Rock is a bungled mess of poor production and half-assed songwriting.

While the execution has become more precise, more considered, the gigantic, swooping structures of the songs remain as thick and muscular as the Midgard Serpent, undulating around and encircling the world.

With its comparatively morose yet still lively sound, Animator is just as instrumentally adventurous and aurally beautiful as the Luyas' enchanting debut.

Many of the tracks, all recorded since 2007, echo the questionable cacophonic splurges of 2008's Skeletal Lamping through to this year's lacklustre Paralytic Stalks. But there are some respites.

Long Slow Dance is a record designed to earn them new fans, but also lose some old ones by ditching the scratchy, unpolished production of their previous work.

There is still strength, a tenacious hopefulness that coils around every song, even as Stay Awake revels in its delicacy.

This is clearly their best work to date.

The band compel with each of their unique flourishes, which work together to enhance the listening experience, making Beyul a thought-provoking, yet easily digestible album.

This is a violent force of targeted creativity.

There are a few shining spots, some merely okay ones and an overall sense that K'Naan is savvy enough to play things on the safer side for now.

Oddly accessible and intriguing in its damaged form, Lonely is much bolder than the MOR, left-field beat music one might initially believe it would be.

The Haunted Man is defined by a more refined sensibility, drawing back the playful clatter of her first two albums in favour of sparser arrangements and a slightly elegiac tone.

It looks like there may be some wind left in this crew's sails after all.

Mayer's instincts, developed behind the decks, come subtly bleeding through on Mantasy, but his sophmore album also shows an artist that's comfortable with revealing lurking melodies and smearing the lines between genres as a producer.

Clark can do it all and it's entirely likely that Blak And Blu will be recognized in the future as a moment when American music suddenly got a great deal more interesting.

By giving their songs more directness, Local Business succeeds in what the band set out to do: present Titus Andronicus as a charged, dynamic live band.

A heavily introspective tour de force, Lamar has created a stubbornly parochial soundtrack to his life in Compton, CA.

Bossalinis & Fooliyones is a taut, humble and profoundly aware medley of late afternoon joy--the best time to listen to it.

Black Moth Super Rainbow's fifth release may not be their most resourceful work to date, but it's undoubtedly their most sublime.

Free Dimensional is infectiously positive, building off of similar foundations as his previous tracks while boasting a fuller, more dynamic sound.

Pound for pound this is another very solid album from an awesome band.