It is far from perfect yet could never possibly get there.

The problem with MU.ZZ.LE is that, as a self-produced effort, it blatantly lacks the restraint that might otherwise have seen this become something truly extraordinary.

The artificial sense that permeates as a result of the album's forced nature may be its largest detractor, and it is one damning flaw whose shadow Human Again can't seem to escape.

It's a nice project that might have been put to better use as a one night only concert, because it's certainly not the crucial next step in the continued evolution of this otherwise fascinating duo.

Slightly more reserved (nothing on the record quite reaches the energy of "When I Write My Master's Thesis"), it is nevertheless capable of things a Weakerthans record might not always be.

Resolution stands tall as a heavy metal record that flawlessly combine technical proficiency with sheer songwriting talent.

Clear Heart Full Eyes is entirely at ease with itself, rarely forcing the issue beyond the gently affecting, but affecting is definitely the right word.

These ten mostly filler-free tracks prove, Nada Surf only look to be growing more confident in their old age.

Thus when taking in Attack on Memory as a whole, it sounds as if Cloud Nothings are, despite their best efforts, a pop band at heart.

Is it a question of [Moore]simply not caring, or does he actually believe that his fans are too stupid to not realize any clear lack of progression and that they're simply being force-fed the same half-assed bass trends again and again and again?

An ethereal but slightly disappointing album for the masses.

For those who don't mind a slight drop-off in substance, Future This packs all the energy needed to fill arenas and get people jumping and swaying in a U2-inspired trance.

Another drug-induced and psychotic chapter in the kaleidoscopic and perplexing saga that is the life and times of one Quentin Dupieux.

For its obvious melodic strengths, though, EP is a tease, slowly removing one layer at a time until its heart is revealed.

The record's ADD can be felt with every unbridged leap between ideas to its shocking lack of transitions, and the whole time there is this pervading sense that Heritage doesn't really have anything to say at all.

A completely brilliant beginning to what hopes to be a long and bright career.

It's just a sludgy, grumpy record from a band who once knew pop music needed whimsy.

Any halfway interesting endeavor is either quickly discarded or frustratingly bereft of further exploration and expansion.

Common's latest shows him with his head in the clouds and addressing the same tired crowd with the same speech he's been writing for years.

Most of the tracks emulate what could be B-Sides of a post-Lemons Ant, doing nothing so groundbreaking as regurgitating mid-90's soul.

When they are on, they are very good, as their relaxing – yet strangely dance-worthy – grooves seem almost effortless. Yet, way too often, the duo simply bite off more than they can chew, meaning that when they are off, a 2nd listen almost seems like a chore.