Everything goes smoothly on In the Clear, with no real highs or lows, so to speak, and as such it unrolls without much fanfare or energy.

Aha Shake Heartbreak surpasses the previous record by leaps and bounds; it is a triumph over the dreaded sophomore slump as much as it is a worthy feat in and of itself.

As with other Crooked Fingers albums, Bachmann’s stories really command most of our attention here, and they serve to elevate his songs beyond just being clever pastiches of pop music.

Texture and detail separte M. Ward from other solo singer-guitarists, but his general songwriting formula is what gets him to the peak of exceptional list in the first place.

There is a feeling of being sucked into a mid-90s vortex here.

Heart Like a River takes you on a journey, and does not leave until every sight is seen and pathway is walked.

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.

Woman King is a brief and yet satisfying taste for what Iron & Wine is all about.

This is, by no means, Mogwai’s finest hour, but Government Commissions deserves praise for its proof positive of the consistent quality of the band.

There are enough interesting things going on throughout the album to keep it fresh for several listens.

If you like intelligent song writing with killer sing-along choruses, then you desperately need this album.

There is sort of a standard formula from song to song within this album.... They need to vary it up just a touch.

While the album fails as a cohesive and sharp sounding endeavor all the way through, it certainly showcases a creative effort that can’t be faulted.

Every song here, on both discs, is interesting and amazingly well-crafted.

Although Outside, Closer dwells in cheerless minimalism it is a joy to listen to.

Ladd’s drive and focus throughout the entire album keeps the listener’s ear, as each moment is unexpected, even after multiple listens.

The bar has been raised for 2005.

The whole of the album is stunning and unique, and if the thematic gender-bending core of the album makes a few people ideologically shy away, then it’s truly a shame.

Review #1: As pandering as the lyrics may be, they could be forgiven if the songs still brought the rock, and they don’t. [score=35]; Review #2: Worlds Apart is stunning. [score=95]

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

Undoubtedly his best and most credible album to date.

While the album is based around the repetitive choppy hook and big beat, some quiet building moments of the heavy songs lack a sense of creativity and movement towards a real climactic edge.

The Great Destroyer is a masterpiece of emotional tumult.

Though the songs eschew familiar structures, their triumphant, readily accessible moments occur with surprising frequency; multiple hooks litter the lengthier compositions, and the shorter pieces usually contain at least two winsome passages.

Perhaps their best outing yet.

Superwolf is collaboration in the truest sense of the word, and the talents of the two musicians involved feel revitalized and meaningful in ways that they may not have for some time.

Its sagging middle aside, Valende may be one of the stronger psychedelic pop releases to come my way in the last couple of years.

A genre-bowing indie masterpiece as gorgeous as anything released since Sigur Rós’ ( ).