The Acorn hit a spry pace here, as chiming guitars, violin embellishments, and burbling electronics coalesce into a harmonious melange.

The group still moves within the same sphere as LCD Soundsystem and The Rapture, but if you're not fed up with indie-electronic-dance-rock just yet, !!! is still among the best in the hybrid genre.

An album awash in electronics and found sounds, Tomorrow Morning is as warm as it is weird and the perfect listen for anyone who wrongly believes happy people are all the same.

Start at the beginning and let it play all the way through: The Orchard gives us an achingly mature version of a band yet to fail.

Divided between a Mongol warrior gallop and Zeppelin III stomp, Warp Riders is a bona fide modern-day mind-flayer. 

Together, the EPs make Rivers a good addition to the W&P discography.

Five of the songs don't feature Lanegan's vocals, and when Willy Mason shows up to sing two of them, it's a wonder why Hawk wasn't more truthfully labeled as "Isobel Campbell & Friends." Thematically deficient throughout, this is an outtakes release at best.

While still somewhat leaning on their flair for creating spacey cosmic hooks, Klaxons are taking a robust step forward, allowing themselves the chance to careen a bit without running entirely off the rails.

Alive as You Are is a pleasant enough recording brimming with lyrical personality-a personality normally buried under DML's psychedelic drone. 

A firmer grasp of his limited range would have been welcome (i.e., "I Can't Feel"), but the N.Y.C. artist still manages to peek further out from his twitchy drum machines like an impish agent of darkness.

Cohesion will come soon; she's got all the nuts and bolts.

Heavy with swaggering, mood-laden rock and roll, guitar-strumming, and Reed's soulful, albeit English vocal style, Come and Get It might be missing a certain kick, but it's nevertheless intriguing.

The result is a seamless yet stark poeticism that best represents MSHVB's overcast outlook on the world below.

The twinkles of music past have been removed, and in their place, gravel has been thrown across the guitars--darkness creeps forward and the album builds and crashes with fervor.

Autolux crawls through sophomore album Transit Transit, paring the exquisite agony of rush hour traffic with Lynchian surrealism.

Missing the debased lo-fi fuzz of its previous 7-inches, Best Coast's first LP is still a clear good vibration in complication amour, resonating through hot, stoned days of West Coast love and lonely, sleepless nights of unanswered phone calls.

Where other lo-fi pop registers as slack and emaciated, Secret Cities prop their brittle melodies up with adroit tape manipulation, wide-eyed field recordings, and electronic doodling straight out of Terry Riley's songbook. [Spring/Summer 2010, p.108]

The songs border on self-plagiarism. That's not to say their Achilles' heel is unoriginality-fans of either band will definitely find some gems. But if Admiral Radley wants to transcend the predictable, they've got the weapons to do it-they just need to use them.

No surprise here-it's a dance album filled to the brim with beats that could make even a corpse twitch.

With surprising dissonances and syncopations, Maps & Atlases will keep you guessing as you dance along.

At a meager eight tracks, the enigmatic duo makes an audacious statement to its peers: quality usurps quantity every time.

What it boils down to is that everything on this squeaky-clean album is carefully calculated, from perfectly placed synthesizers to haunting vocals. The Five Ghosts is something for which it can be suspected fans will be jonesing for some time.

Fol Chen proves it's capable of being quietly understated in addition to wonderfully frenetic. [Spring/Summer 2010, p.113]

So until the radio stations get it right..make of the wicked what you will. Ferocity will never feel so fuzzy, nor fear so inviting. [Spring/Summer 2010, p.104]

Though it lacks the immediacy of Furr, Destroyer of the Void’s surface ripples with a steady, concentrated drip—confident in the strength of nuance’s eclipse.

With Before Today, Pink achieves congruence in the album's construction, but does so without sacrificing his peculiar flair. [Spring/Summer 2010, p.104]

In more ways than one, Here We Go Magic has developed into the everyman's version of early Wayne Coyne: less polished, more noise and an equal amount of smiles.

Like LP3, Ratatat's sound is fuller than on its freshman and sophomore releases. And with strings more dominate on LP4, once again, the guitars actually sound like guitars. Throw me that pick.