Soft, warm, but still interestingly distant.

Paper Monsters succeeds in revealing the "new" Dave Gahan, and that's what makes it a faintly embarrassing listen.

They're no Basement Jaxx, and it's easy to hope for someone with more professional skills to come fill in the Audio Bullys' blueprints.

Musically and lyrically, E is spent-- out of ideas, out of innovation, unable to cough up anything but by-the-numbers pop in the fourteen originals he wrote for this disc.

This record explodes with song after song of endlessly replayable, perfect pop.

Juvenile, simpering, weak, preachy, pointless and accidentally snooty, Dying in Stereo is about as empowering as Legally Blonde 2.

This comp makes one thing perfectly clear: for a host of bands so readily compared to the same tiny stable of influences-- "sounding like a modern-day Gang of Four..."-- there sure is a hell of a lot of diversity between them.

One part Busta-lite, and the rest full-on skater bravado: Gold Chains isn't going to tear up the world of hip-hop, but he's not totally empty handed.

Zoo Psychology's refrains are faster, shorter, and more efficient than ever.

For the first time, it sounds like he sat down in a good studio and carefully assembled a record. That's good, in that Odd Nosdam's production rode out the lo-fi thing for exactly long enough before moving on; but it's also a disappointment, because the new work isn't far off from where he was before-- it recycles a lot of his ideas with none of his usual edginess.

The cache of "weird" songs on Rape Fantasy is better than the tracks collected on Staying Alive.

How the West Was Won serves up their muscle, sweaty heart and golden grandeur in an exhaustingly persuasive light. That, and a hundred of the best riffs you've ever heard.

Each track is fully realized, thoughtfully written, and prudently performed, rolled out with a steadiness that can become a little maddening after a handful of listens.

As good as "Danger! High Voltage" is, the rest of this album is simply not worth it.

Their tendency to temper their noise with surprisingly sugary pop hooks and wormy choruses is what keeps these songs from becoming pretentious or tiresome.

An acceptably underwhelming, state of the art, guitar-centric pop record.

Built on Squares is the fun and catchy work of talented pop musicians, writing terribly interesting songs without compromising pop's essential, visceral lure.

To be fair, there is redemption embedded within, a few genuinely interesting bits wedged between stacks and stacks of gooey piano ballads.

Disturbing, complicated, and enthrallingly strange, The Mess We Made requires patience, and, ideally, an already established taste for Elliott's previous ambient output.

Each of Alter's twelve tracks are structurally slippery, shifting seamlessly from style to style in a way that makes it almost impossible to accurately map their paths. The subsequent mazes can be disorienting, but it's the most thrilling brand of dementia, as well as an acute reminder of the tension and balance true songwriting prowess can build.

He set out to make a mediocre album, and succeeded admirably.

There are so many types of music he's experimenting with on this album, not even from track to track but within each song.

To the familiar, Robin Guthrie has already proven he's better than this; to the uninitiated, Imperial offers a muted exposition of his talents.

Unfortunately, about halfway through the album, the sound wears itself out, as the samey melodies edge towards the too-familiar.

The Gossip sound best when flowing through lo-fi constraints: when they don’t have a hi-hat, and the down-tuned guitar is missing string.

What gives this record its internal order, and makes it stand out over previous laptop explorations of immense record collections, is the simplicity of the other genres that he dabbles and draws upon to flesh out the beat.

Surprisingly personal and emotionally resonant, Ether Teeth is potent inspiration stretched perhaps too thin, but undeniably captivating in its moments of brilliance.

Those expecting the dense, powerful, and insistently upbeat onslaught of Mass Romantic will no doubt react to Electric Version with some degree of initial disappointment. Repeated listens, however, reveal that Electric Version not only displays Carl Newman's brilliant and unique pop sensibility, but allows it enough space to reveal previously obstructed layers of emotional depth.