Wolf, ever so self-aware, makes The Bachelor's most intimate moments its most powerful ones, where the frivolity stops and the artist reverts to his eccentric, idealistic nature.

As casual pop, Causes of This pleases effortlessly, though the listener doesn't get the sense that that's what Bundwick is all about here.

As presented on LP3, it appears Ratatat's music works best as a fleeting burst rather than a long player.

Decidedly unremarkable.

Terry has clearly reached a new level of musical maturity on this album, but flirting with sounds that don't quite fit in the face of such progression only keeps Or Give Me Death from fully harnessing his newfound growth.

Kidnapped by Neptune... finds an exponential increase in her reach while still relying on some of her time-tested tricks; the results are wryly melodic and never ever boring.

As a primer on The Greenhornes, Sewed Soles works best.

Along with Sounds of Silver, Myths of the Near Future is thus far the best dance (rock) album of 2007 that you can rock (dance)-out to.

[An] enjoyable, if slightly inconsistent, album.

The prospect of Midnight Juggernauts completely reviving the new wave scene is a long shot (perhaps thankfully so), but the trio has gone a long way toward proving that, when only the best parts are culled, the fairly dead genres of yore can, when bolstered by modern sounds, result in something beautiful and memorable.

Every one of the eleven songs attached to Blacklight is a stunner in purely musical terms.

Spellbinding and eclectic with the ability to be both eerie and gentle, Detrola is the best of the best of what His Name Is Alive has to offer.

For some reason, the band seemed to strip things down on this album, as the tracks are less sophisticated and experimental than on previous works, (which is fine for most bands, but for ones that aspire to keep their crown at the forefront of indie-pop, just not going to cut it).

The creative engine has stalled on Baby 81.

Nine of Arm's Way's twelve songs start with legs, but ultimately suffer from an inability to respect their limits.

Textual descriptions may be difficult to understand without listening through the album's 11 songs, but for someone who has been a faithful listener since their eponymous 1994 debut it is important to know that Beacons Of Ancestorship is surely a keeper.

The album is a whole effort, not just one or two overachieving songs that make the entire thing seem better than it really is. Along with Brazilian Girls, one of this year’s hotter electronic releases.

On Our Love to Admire that world-weariness goes from strikingly haunting to fairly monotonous.

Whereas their back catalog centered on decidedly un-rogue waves of distortion, My Heart Has A Wish That You Would Not Go is a collection of quiet, often surreal songs that border on balladry.

Once Upon A Time is simply derivative, a rehash of the band itself.

Memory Man will be one of the strongest efforts released in 2007.

Although the material could certainly stand on its own without all of its dressings, Canopy Glow is a more complete, dynamic experiment because of them.

For such a tortured swarm of piercing feedback-drenched feedback and electronically-manipulated electronic manipulations, this record feels surprisingly coherent, almost to the point that it’s comforting.

The band is learning to play their instruments better, but they’ve lost some aggression, which was the key to the little charm they had from the get-go.

Mostly, the overkill of professionalism just makes me yearn for the early Green Day material I grew up with: sloppy, abrasive, and most importantly, aware of what they can and can't pull off.

The Equatorial Stars renews a partnership of a more than historical value.

The Cave Singers' methods are clearer and less complicated than say, Joanna Newsom or Sufjan Stevens.

Imperfect as it is, you still have to admire Free To Stay as a gleeful paean to the joy and freedom of being young and a happy.