Everything All The Time runs not only on imagination but on determination – the mix of the two is what makes it exceptional.

The good news is that the album is downright delightful. The bad news is that if you've followed Holland since her first release, you're probably not looking for an album that's merely consistent singer/songwriter fare: no, you want the highs and the lows.

This is an album worthy of unpretentious adoration.

A wonderful pop record.

The Believer is a strong and enormous album about sex.

Realism is a significant departure from the bands previous outing, Distortion, which was quite a departure from its predecessor, "i." And although the group continues to change sounds, Merritt's enthralling voice and songwriting dexterity continue to shine.

Neither the songs’ structures nor their lyrics offer rich rewards after close listening and dissection.

Tarnished as it is, Faking The Books is still a treasure. Ignore the ham-fisted political treatises and enjoy it for what it is: a streamlined marvel of IDM song architecture.

For what it is, namely a strong, if somewhat benign, collection of songs from a weather beaten soul who plays a mean guitar, Makers is a therapeutic listen with a gentle, if somewhat morose, melodic sensibility.

Their songs aren’t radio friendly nor are they mind-blowing in scope or execution, but give them time and they’ll creep into the rotating playlist in your head.

Leo and company go over a lot of territory on this release, but it is not bothersome or a stretch; the band pulls off all of these styles very well.

The band’s ability to sound unforced, unpretentious, unusual, and most importantly, real, is a breath of fresh air.

Like all free jazz albums, The Exchange Session, Vol. 1 should be approached with caution. It’s a great night-driving companion and opens up to the patient listener willing to give it more than one chance.

Alpine Static, while inherently visceral, is also emotionally gripping.

While there's no immediate pop hit present a la "Feel Good Inc" or "Clint Eastwood" to get sucked into straight off, Albarn's ability to juggle his rotating ensemble cast and still spin a cohesive yarn for all of sixteen tracks remains something to behold.

With his soundbombing past set aside for the moment, DJ/Rupture proves he's just as capable of providing a different kind of head trip, one that sufficiently aids the comedown from whatever your nocturnal activity.

Omnibus offers a lot of quality songs from a quality songwriter.

Perfect it may not be, but as perfect as possible it might, and Let's Stay Friends certainly has more than enough fervor to make it one of the more refreshing punk purist releases since Fugazi laid down a baker's dozen of songs in the last century.

Despite it’s pitfalls, Mo' Mega has great entertainment value.

The best part is that nothing feels forced or overtly formulated; every bout of vocal scatting, jazzy electric guitar coloring and organ chord arrangement seems to be the product of gradual mixing sessions.

Rife with contrast and irony, Infiniheart plays like a series of short stories or films, somehow interwoven to a common conclusion.

A mostly brilliant, though occasionally lackluster, album.

A mixed bag of bouncy, speed-fueled pop songs and spacey neo-psychedelia flooded with waves of synthesizer.

The album is at many times more open and engaging than some of those earlier gems and has a lighthearted nature that retains the balance of sating old fans and sparking new ones.

14 songs focused intently on melody and chord progressions, not licks or repetitive riffs or tricky drumbeats.

Blake Sennett’s second album with The Elected is more magical and limitless than his first and reminds us why we love his projects in the first place.

These songs are gorgeous and the band knows how to milk the beauty for all it's worth.

Present are the hints of early Guided by Voices, spotty Who outtakes and country-tinged acoustics that make East River Pipe so beloved, but here these influences tread, weighted, underwater.