Modestly anthemic and quietly anthemic, ƒIN is worth the time of any music fan that considers themselves in the slightest bit interested in electronic music.

An original and fascinating record from three enviably talented musicians, who probably will not spend much longer being so inexplicably overlooked.

The most noticeable difference from his previous work is that the three are symphonic, they have parts, and those parts are distinct, either marked by a certain loop, bass ostinato, drone, or tempo.

In an age of musical ephemerality and impermanence (especially in the electronica/dance arena) it's good to know that sometimes innovation and inspiration can go hand in hand with experience.

Those expecting a more swaggering form of vintage soul will find themselves awfully disenchanted. But for the most part, it still holds together as a serene meditation that vacillates with a refined grace and beauty.

For Fanfarlo, this is a follow-up that does all that it needs to do. It keeps us critics and fans happy with a healthy balance of familiarity and expansion.

Personality is not quite the dancefloor-igniting record that was expected, though nor is it a mere rehash of previous work – it is the sound of Rose exploring a variety of styles without successfully nailing any of them.

Overall, Arrow is the quintessential Heartless Bastards album to date.

What's also noticeable is how unnecessarily restrained most of the album is.

Throughout, a spewing, pandering vitriol taints a band whose vivacity seems to be wearing thin.

Softening their sound hasn't led to more fans, but to a blander, weaker and unsatisfying sound.

They're already halfway to being the world's best My Bloody Valentine cover band.

I don't think it would be a stretch to say The Men were picking up where The Replacements left off.

And Never Ending Nights may be Willner's most fully realized expression in an already impressive body of work.

Rhyton simply play their music, unfettered by the constraints of tradition, structure or expectation, and it's that quality that makes their album such a thrilling experience.

The richest, most dynamic album to the legend's name in decades.

It is, quite frankly, tedious and utterly un-inspiring, lacking any serious ability to convey the emotive forces which I would hope drove the song writing processes. [Review of UK release The Future Is Medieval]

Overall, this album contains some of the most original and hypnotically brilliant rock music ever recorded.

Flash-forward to two years later and we get One Second of Love, which finds Gonzalez maturing into a graceful songstress without entirely abandoning what inspired her in the first place.

On The Slideshow Effect, Memoryhouse strips away the full production, lets the vocals rise to the front, and lets their songs do the talking. The bold choice exposes their weaknesses, but Memoryhouse still has plenty to be proud of.

The album as a whole has that feel; it's perfect late night or Sunday morning music, though this might damage its broader appeal.

Despite minor quibbles what you have here is one hell of a late-night record, with plenty of wistful longing and just enough sunshine to keep you off the suicide hotline.

While it can feel like juvenilia, it's in a very endearing way, a catalogue of the catharsis of a high-school misfit.

The main issue with Mr. M is that, while it's beautiful on the surface, it doesn't really go anywhere.

Schnauss' sheen unifies it as, bare minimum, a pleasant journey through the haze. Just don't expect to see anything too clearly.

It's curious how much of the content in here could bring back what is fast becoming an increasingly extinct way of emoting--the fact that it feels this intimate should be something to be thankful for.

Screws Get Loose, is wonderfully tight and Those Darlins' latest succeeds with catchy, country tinged rock-and-roll with a healthy dose of humor.

There are some truly great moments here where the band crash around making glorious, daft, noisy pop music, but they stand at a stark counterpoint with the cloying experimental tendencies Barnes forces through.