So good are these songs that you don't realize they're all sort of the same until you've gone through, like, seven of them, and even then it's difficult to fault DIIV for sticking to one sound since they do it so well.

Their experimental ambition and artistic integrity is extremely promising, and with a little more focus, direction, and experience, they could be something special very soon.

What this all boils down to is another solid outing for the group.

It is perhaps the most unforgettable work of her career.

Bloom has continued making Beach House a Thing in indie music, a band that has a feasible future, that won't be just forgotten and left by the wayside. It's nothing to get excited about.

This album just seems too comfortable.

There are still traces of their recent, more mature outings, but those moments are predictably outshined by the ones that harken back to the band's glory days.

The duology of Love Letter and Write Me Back has been his most soulful and inspired work since Chocolate Factory.

The main problem with In Our Heads is its musical anonymity.

There's No Leaving Now is an album that begs to be picked apart, but that can't be picked at.

It ends up being a mixed bag of give and take, but as an assault on all senses it always manages to succeed.

Live From The Underground offers nothing game-changing, but is definitely enjoyable (especially on high energy jams like "Yeah Dats Me"), emulating its influences well.

PiL have created something solid, vicious and with enough value for repeat listens.

Instead of relying upon the old classics, touring the same old stuff, he and SP have forged ahead to create a record that could well be the catalyst of a stellar second era for one of rock's more interesting groups.

Without any quality control or stylistic cohesion, Usher stumbles into his best record since Confessions. If only this was better planned.

Endless Flowers is an album of summer anthems for those who like their beach days mixed in with a good dose of torrential summer downpours.

It's their most accessible record both musically and lyrically.

it sounds like Motion City Soundtrack are warming up for an absolute classic. This isn't it--but it'll serve just fine in the meantime.

They might always struggle to recapture the spark that drove their first two albums, but The National Health might just be what the doctor ordered.

Ohnomite is another solid addition to a growing, consistent discography.

One can't help but feel that Avary's grasp on quality control is waning, with too many of these--admittedly solid and likable--twelve tracks delivering predictable and forgettable results that fail to reach any great heights.

In a world where many acts of a similar age rely on their past, eschewing their original passion and fire for heritage, tradition and tribute, it's comforting to know that Young can both usurp these elements and carry on ploughing his own furrow.

Rumors of punk's demise may be exaggerated, but perhaps someone should tell Almqvist and company that it's long over for them.

There's a depth to these tunes, one that comes not out of fast nights and wrecked relationships but the hindsight and experience of age; it's a well that, thankfully, seems to be getting deeper and deeper.

SMD's latest is an exploration not just in sound, but in concept; it feels like a defining statement, not just for them but for dance music in general.

Completely unaided by flat production and little or no deviation from one or two initial ideas, it's verging on an insult to the memory of one of punk's pioneers.

In the realm of Sigur Rós, it's akin to breathing plain fresh air: in some contexts, refreshing, but in others, just... there.

Celebration Rock is near-perfect in what it sets out to do: making people happy, bringing them together.