The farther they wander, the more magnetic they become.

At just over 33 minutes, Earth Junk is a short recording, but even at that length, the limited sonic range and repetitive tricks are ultimately draining.

Cover albums and mixes aside, Radio Retaliation is the pair's fifth studio album, and finds them once again failing to make anything but the most minute adjustments to the polite groove that is their stock, trade and--in 2009--monopoly.

The project still has the feel of an accompanying piece, with titles referencing the dramatization of the Chinese story and plenty of incidental music, but it also works on a satisfying level as an experimental work or as art-pop.

Despite some of the growing pains here, Backwards strongly hints at the sadistic beauticians S-M would be introduced to us as in their debut, and bravely reveals the types of psych/shoegaze pitfalls they'd later learn to avoid.

Unfortunately, too many of the songs highlight Starfucker's shortcomings, leaving them introspective, detached, and even timid. If this three-piece can learn to have as much fun in the studio as they do onstage, these fuckers might actually become stars.

As beautifully assembled as parts of Seaside Rock are, a couple of genre-specific tracks underscore its stopgap nature.

Dr. Dooom 2 isn't Keith's worst album, but it doesn't do a whole lot to break recent trends.

Beating Back the Claws of the Cold only offers fleeting glimpses of potential greatness beneath the ho-hum surface.

Ladyhawke is brimming with ideas whose worst moments quantify this past and whose best build upon it.

The Hungry Saw's temperate approach feels like the work of a band who are grateful for a new lease on life, but not sure exactly what to do with it, proffering brief experiments that amount to little more than amusing curios (the self-explanatory "The Organist Entertains") or instrumentals that sound like guide tracks waiting for a vocal supplement (the tremoloed psychedelic samba of "E Type").

Peaceful, the World Lays Me Down, the debut LP by the London folk-pop quartet, bites its best sensitive-indie forebears and then pukes up all the most superficial chunks.

Lyrics like those [in 'Whiteboy'] make up for the clunkers, but more importantly, the music itself sounds shockingly vibrant for a band only recently taken off ice.

In truth Who Killed Amanda Palmer spans a decade of songwriting, and by 'Leeds United' the disc has revealed itself as a broad collection of rich character studies born of Palmer's lyrical acuity, likely laced with personal touches that nudge some of the material toward the at least loosely autobiographical.

The quiet-loud-quiet-loud dynamics and turgid crunch taste and feel just like middle school. And even if that weren't the case, it's safe to say we've heard aches like just these before.

It's actually refreshing, then, to hear a record like Raphael Saadiq's unabashedly retro The Way I See It, which doesn't try to "update" old soul sounds to a hip-hop world and a white singer.

The mercurial three-piece may now be more cohesive, consistent, and focused, but volcano!'s unpredictability is Paperwork's biggest strength.

The overall stylistic consistency that made Listennn unusual now makes for an exhausting hour.

On Talkdemonic's third stab, Eyes at Half Mast, the novelty seems to be thining, and O'Connor and Molinaro finally sound limited by their tools.

Defined as much by its lyrical prism and Angelakos' falsetto (more on that later) as its gooey textures, Chunk of Change walks the line between beat-driven, Hot Chip floor geeking and twee atmospherics.

It's a dense, patient work that could only have been made by someone who's done this before.

The faster stuff is pretty much in line with the key tracks from "Mag Earwhig!," and the lesser of the slow jams could very well be on any of the records after "Do the Collapse."

Whether Wreckless Amy represents a one-off collaboration or the start of an ongoing project for both musicians remains to be seen, but they sound pretty happy together.

The best ones spit in the face of death; this album instead finds aging men trying to reclaim their youth.

His proxies fare a bit better, though there's another problem: There's way too many of them, and none of them stick around long enough to establish themselves.

Ultimately, this is the type of record this band is suited to making, and it richly rewards repeat listening--details and melodies that seem buried or understated eventually come to fore, slowly revealed in a mixture of organic warmth, welcome variety, and subtle complexity.

While not guilty of carrying any true bombs, Lightbulbs does reveal how the band's stand-offish approach can serve as both a safety net and an anchor.

The Stand Ins continues that ambitious musical development [in "The Stage Names"], further roughing up the group's sound while sharpening its attack to an even finer point, and refining some of their old tricks while introducing new ones.