The earlier albums were hyper and hi-energy affairs whereas Jumping The Tracks is more measured and has a more constructed feel.

Although the record’s themes are well-worn, her approach to sound remains pure.

If you've embraced Clinic's reverberating panache for the past ten years, there's no reason to dislike Bubblegum's peculiar fabric. This is the sound of a unit that still has no intention in keeping up with the times, delivering more of what they do best with an already proven track record.

There Is No Year is one of the most disappointing follow-ups in recent memory. Knowing the group is capable of much more gives hope for a re-energized effort in their future.

On a Saturday night, in an adrenaline soaked club with a nasty bass--Simian Mobile Disco is amongst the greatest fun you’ll ever have. But on a perfectly round, 16 gram piece of plastic--it ain’t really worth a damn.

Get Guilty is best enjoyed in chunks, as nearly all the tracks are great pop songs. But a full listen through can be an ordeal.

Here Before questions its existence as a new chapter for the band while content to see it closed, mentions of transition and introspection at the core of their story. What you can take from it is that its protagonists are aging gracefully and that, if this is their last hurrah, The Feelies are going out strong.

Haines dwells in some synth-driven soul-searching that should’ve been cast aside for a different project. Still, the slick, forceful Art of Doubt accurately identifies where their true strengths lie.

What it loses in irreverence it gains in solemnity and seriousness, but this is still the Zahner-Isenberg of before, ruminating on his past with a conflicted conscience that threatens his every thought.

Somehow, because Uptown Funk is so, so good, Uptown Special is even more disappointing.

Human Ceremony is an instinctive record, with the band more than happy to act on an impulse. The enthusiasm of the band is infectious, always remaining grounded but delightfully exploring their own infinite limitations.

Into the Waves is an invitation to float. The mature lyrics and vocal performances in conjunction with the flow of disco-like melodies makes you feel like you're walking the fine line between fantasy and reality. It's a lovely indulgence.

It doesn't really work for either audience it aspires to please, and I'm left feeling a bit bored.

Man Alive! fleshes out Krule’s song crafting abilities to make for a slightly more cohesive and concise listening experience, albeit, one that remains perplexing—and still has a killer bite.

La Di Da Di is full of very cool timbres and some incredible drumming, but its arrangements leave a lot to be desired.

Overall, this album was a just-in-time surprise: a musical excursion of folk, soul, rock, and soul-baring honesty--fun to listen to, no matter where or how it is heard.

There have always been shadows cast from the overriding ebullience of Lennox’s work as Panda Bear, but with A Day With the Homies, the shadows are confined by a skyscraping sun, where elastic psychedelic bungees in and out of the surf and basks in its feverish gleam.

Even though there aren’t any forcible tracks or extreme depth to this album, it captures an experience that should be played out entirely.

What makes You Know I’m Not Going Anywhere frustrating is the knowledge that Grote has all the right ingredients (including Fridmann in this case), but somehow isn’t consistently stringing things together.

There are so many ideas in Heartworms that give substance to Mercer’s unremitting passion to create, and though he manages to enliven and push the project forward it more so blurs Mercer’s artistic and commercial ambitions.

TFCF is riddled with confusion and self-reflection, and it faithfully continues Liars’ unconventional stride, though this time it had to affect him intimately and personally to take him there.

Static is remarkably self-assured and meticulously produced, but such traits cannot disguise its throwback trappings. It’s hard to look away from its unfortunate backstory, and the music never really makes a point to consider it outside of its context.

One's enjoyment of Dream Get Together will depend greatly upon their appreciation for good jam sessions. Jam sessions are fine after all, but it's hard not to be a little disappointed in Citay after hearing the disparity between what they are capable of and what they want to be.

Absolute II doesn't reveal anything on repeated listens, in spite of the densely woven textures. While it's another prime example of Oneida defying expectations and challenging themselves as artists, it's perhaps a step too far. It's a blip in an otherwise solid discography.

Grace/Confusion is an aptly confounding record, its six tracks very much dissimilar to each other yet held together with a sense of grand gesturing and tireless virtuosity.

Even if 12 has its share of flaws, Sloan still manage to write one of their most proficient set of songs since 2008's faintly more exploratory Parallel Play.

Clutching Stems doesn't hit the highs some of the band's albums have, but it features some added-in coherency that quite helps the album along.

Harmonium is as sunny and affable for outdoor get-togethers as it is sexified for one’s swinging bachelor pad.