This is Cat Power as strong and mature as we know her today.

'Emergency Call,' with its Jerry Rafferty-esque hook, marks the highpoint of the album. But the ditties are offset by introspective ballads like 'Never Looking Back,' with its mournful melody, and 'Bound,' a song in which Matt gets his dander up and renounces a woman who’s wronged him.

It's refreshing to see a talented musician who’s harmlessly heartfelt, but the record would have more edge and lasting value if Jack simply grew some balls.

D-Sides is a worthy investment because of: A) the inclusion of their re-recording of the live-fave 'Hong Kong,' B) their collabo with the Bees entitled 'Bill Murray,' and C) remixes by DFA and Soulwax.

It's shame, however, that the goofy aspects of the album distract from its sonic frame, as Wiliams is not only a talented producer but also has a keen ability to weave masterful pop instrumentation. [Winter 2007, p.94]

Raposa breathes a life of delicate beauty amidst a seemingly hopeless situation.

There’s a melancholic beauty in the melodies of Zach Condon that conjure a cinematic romanticism.

Random Spirit Lover even crushes "Beast Moans" at points, its arrangements meatier and more satisfying, with an off-kilter Disney otherworldliness and kudzu-dense overlapping keyboards.

While Grass Geysers…Carbon Clouds shows that Schmerse is still refining and fucking with his most primal pop tendencies, it’s most impressive because this time around, it’s not just Enon that makes the record special.

Not since Thee Headcoatees has English retro sounded so cute. [#25, p.92]

However, even with the musical trappings of contemporary conventional rock, Siouxsie’s voice and look, blessedly, remain the same.

But without a doubt the change on White Chalk is steps beyond those we have seen from PJ in the past, which makes one question her intent.

What remains are incredibly sharp and distorted fist-pumpers, chock full of guitars and monstrous drums, and a handful of slower numbers that fall short of matching the impact of songs like 'Everlong' and 'Learn to Fly.'

With his grandest album to date, mark the return of Iron & Wine’s Sam Beam a triumphant one, packed with romantic tales of small towns, countrysides and the expansive sea.

Smokey Rolls Down Thunder Canyon is like ten Van Dyke Parks song cycles ground into mush.

Beyond the Neighborhood is somewhere in between, melding studio tweakery with the kind of sweeping melodies that never seem to go out of fashion.

If there’s a criticism to be volleyed, it’s that In Our Bedroom After the War’s direction frequently changes dramatically, rendering the set of songs as a smattering of smart, soft ideas that are expertly executed rather than a cohesive collection of material.

In Our Nature is a compelling but not fascinating portrait of an artist at ease in his element.

Incorporating harp, horn, clicks, clacks, reeds, bells and strings in other more "typical" Múm songs like 'Dancing Behind My Eyeballs,' they breathe a bit more breath and color into their swaying, hypnotic pop music.

While they’re as adept as any duo at infusing world-weary melancholy into every bar, they’re not really raising the bar with this one.

The Weakerthans’ music ages well, and when they free themselves from style and are left to focus purely on their music, it never fails to make you feel special—thus making the Weakerthans a perfect band for fandom.

It’s not that the signature strings are missing or the lyrics are less poignant, it’s just that Last Light finds them hidden behind a big ol’ indie rock rather than center stage amid swirling chamber pop.

Magik Markers stand out from the crowd of Sonic Youth conscripts by delivering an album that marbles its clang with sweet spots.

Like a drifter telling stories, the music is precocious yet consistently repetitious.

So while Drew’s songwriting roots remain strong, he and the BSS family tree need to watch their creative waistlines, lest the spirited Canadian musical movement they’re responsible for should hit its saturation point too soon.

From the propulsive 'What Would Wolves Do?' to the dub-styled 'Brace Yourself,' the album seems like something to play while driving across the desert at sunset, especially with all the wolf cries in the background from Islands’ Nicolas Thorburn.

The balance across the album (as opposed to the drop-off second half of Feels) makes it their most forward and enjoyable work to date.

The songs are mostly strong, but by the end, your legs stop kicking and your butt stops shaking.