Dense, satisfying, and fun--this deserves to go down as one of the peaks of baroque pop in recent years.

Maybe Today, Maybe Tomorrow is the band's best release to date.

It's a righting of the ship back to the quality control we've come to expect from the Raveonettes but nevertheless still an accomplished retread of a formula, nothing more.

As a whole Negotiations does little to distinguish the individual songs from the album's greater artistic statement.

The album is the result of its own thought process, and ultimately becomes the most revealing thing Lekman has written, even if it is his most succinct record.

this is a Mono album through and through, so much in fact that this reviewer felt déja-vu during some of the more lulling parts. Depending on one's feelings towards the band, this will be a key factor in whether or not this is a worthwhile listen.

The thing about Emerald Forest and the Blackbird, though, is that it has no logical direction and no cohesive force, despite its strong and intriguing concept.

Within its 26 minutes lies an amicable amount of intensity, passion, and palpable creativity, portraying a fresh sound that absolutely begs to be heard.

There is not one note out of place; the music remaining tight, aggressive and addictive throughout.

With their eighth studio album, Yellowcard anything but disappoints.

Sun is a rewarding return to a new Cat Power, one who seems more at ease with her music and herself than ever before.

The Seer is everything we could have hoped for--it is Swans, standing proudly and unabashedly at the top of their game after nearly thirty years.

Not even some admittedly slick production can drag this out of the mire.

Devotion does something remarkable in making the universal--love, heartbreak, and yes, devotion--feel specific, simply because Jessie Ware doesn't sound like she's lying.

Eremita has the makings of something excellent, especially given the quality of the guest performances and the sheer creative vision that Tveitan holds within himself.

While it still sounds fresh it's still wearing the same threads, still talking in the same voice and moving in exactly the same way.

[A] thrilling and possibly definitive album, it's impenetrable, multifaceted, and irrepressibly imaginative.

Tapes is hampered by unimaginative mixing and a serious lull in proceedings at the halfway point.

While his lyrics may not make complete sense and can be hypocritical at times, Nas is on top of his game with Life Is Good.

A huge chunk of the record comes across as a potent reminder that even at the height of her powers, Lopez tended to provide second-rate, filler radio pop which was distinctly inferior to what Britney Spears, Christina Aguilera, and even Shakira were pumping out at the time.

It doesn't quite spike with the sharp edges of old, but the passion is in a more intelligent place, and it's a place worth returning to with at least the same frequency as those hospital walls.

With its obtuse rhythm and the inevitably impenetrable lyrics, Om offer their own truth, one with many questions and answers.

In summary, it's a good album and a perfect indication of the progress Tankian has made and will continue to make as a musician.

All in all, TNGHT is a tremendous and kaleidoscopic introduction to a dream production duo that has already turned heads (HudMo has spent the last few months keeping Kanye on point), and it shows that TNGHT has only just begun.

Laborintus II is a strange and unique creation that despite being far from the days of Mr. Bungle and Faith No More, feels completely and totally Mike Patton.

Ten Stories is at ease with its ambiguity and style-shifting.

None of these songs are entitled to be the album's best and none of them work towards anything other than creating the quiet, gloomy album that it is. And yet there's so much of this focus given to each song.

Gossamer is huge, bombastic, and all over the place, spraying synths and outsized choruses like confetti over some deranged future-pop festival.