On A Grand, everything Skinner does is in service to an infinitely satisfying and resonant whole.

That Kinski succeeds at knocking you over with noise on one album and then killing with you silence on the next is something to marvel at.

fulfilled/complete is thoroughly compelling, until it reaches its closer, "The Dream," and becomes urgent, essential listening.

Somewhere between Beth Orton and Iron and Wine, Molina's music feels like it's been pulled direct from the surrounding air; a spring breeze given shape.

Rejoicing in the Hands finds Banhart developing past his early lo-fi recordings in favor of a crisper, more succinct sound that highlights his intricate guitar picking.

The album doesn't break any new ground for the band, but finds Burma at the top of its game, mixing artful music, intelligent lyrics and controlled sonic mayhem.

Particularly striking is the group's ability to mix vast instrumental soundscapes with subtle electronic manipulations, creating a synthesis of analog and digital elements that is visionary in its sonic impact.

Faking the Books loses some momentum beneath a glut of precious, minimal electro-ballads that dot the album.... But the album succeeds brilliantly on the louder numbers.

Beggar Boys may not change anyone's view of the band, but it is another strong outing in what is turning into a pretty consistent body of work.

The band plays a raucous, shifting rock heavy on drama, but light on reasons to keep listening.

It's all Around You isn't their best -- or most challenging -- work, but it's a sign the band is still making music in a bubble.

The group has obviously lost whatever touch they once had for making unique, interesting music.

Labeling Again as entirely derivative would be inaccurate, as Tan folds flourishes of dub and krautrock into a lascivious mix of after-hours cool.

On My Way promises to be voted "Most likely to get lost in your collection and never thought about again."

This is a great band's most fully realized and mature album in a career already dotted with highpoints.

Of Montreal have safely entrenched themselves as an institution in the indie rock world, and Satanic Panic shows them as dependable as ever for some of the best pop songs around.

They have all of the grandeur of the best REM ballads, but Snow Patrol leader Gary Lightbody sings with indie rock's characteristic understatement.

Because every note is perfectly placed, and the contemplative mood sustained throughout, it's hard to notice the lack of originality and occasionally pedestrian songwriting.

Marrying a knack for hummable melodies to a much-needed dose of sincerity, The Hiss hammers their tunes home with a sense of urgency on par with their classic rock and Brit-pop idols.

Moments of the overfed ambience familiar to the band's debut, Feel Good Lost, poke through as the album drags on.

Repeated listens... reveal the album's complexity and highlight how far the band has come in the four years since their last release.

Though the dark atmosphere can weigh Cavelight down on extended listening, it is the record's most lush, emotional moments, like the operatic "Sunday Séance," that are most suggestive of Blockhead's potential.

The disc's highlight, "TV Pro," ably blends the band's two moods and adds some promise to an otherwise bland and vacant offering.

Fennesz does an excellent job of balancing the IDM portions of his sound with more challenging layers of material, making music that is both individual in approach and eminently pleasing to hear.

Ten turns out a few good songs, but there are better solo records by each of its members.

It is Stevens' creepier qualities that make him a cut above the average singer-songwriter.

Battery is an album of diminishing returns that sputters out of steam halfway through.

Deerhoof's diversity is less a series of self-conscious genre references than a genuine proclamation of unimaginable artistic freedom.