Blank by the numbers, blank’s the result.

A lyrically potent, melodic, and danceable piece, make sure to cop one of the best records the year has to offer.

I’m Going Away finds the band embellishing on their debut, the criminally underrated "Gallowsbird’s Bark," which also found the band at their most melodic.

Riceboy Sleeps isn't quite awful; on the contrary, there is enough warmth and prettiness to give the record some value. But by the same token, it's certainly not fantastic either, and therein lies the great problem with the whole project.

The record doesn't particularly sound like anything Our Lady Peace has done in the past, but maybe that is what's so exciting about the quartet's seventh release.

The music is, as ever, varied and interesting. The Satanic Satanist is a guitar-centric album and it is all the better for it, as Gourley has a unique knack for riffs and leads.

Not much is worth listening to here; the record's second half saves the abysmal first, yet never approaches the greatness they're capable of.

Taking into account that half of Leave This Town was never intended for headphone listening, and is better heard blasting on a car stereo or a jukebox, it can seem somewhat picky to criticise the album for being poorly-written or for sounding like compressed dog poo.

The first album in a series of three (all with the same title, differing only in capitalizations) BLACKsummers'night isn't just the soul album of the year, but also a top-tier addition to the canon of a once-fizzling scene.

There’s rarely a song here that isn’t beautiful: Fortino’s sense for gorgeous melodies, both instrumentally and vocally, simply shines throughout.

Even though Farm may be the album we (should have) expected from Dinosaur Jr., it is still an excellent record that offers a variety of different qualities, while remaining as much fun to listen to as they have ever been.

it’s an excellent change of pace for the band, and proves that they can indeed write spacey, esoteric mid-tempo songs instead of...well...spacey, esoteric breakneck songs.

Regina has basically mastered everything else too; it's hard to see her making a wrong move anytime soon.

Unfortunately, Beacons Of Ancestorship may leave listeners concussed; as there are only a handful of memorable musical fragments.

Basically, Black Clouds & Silver Linings is an album that continues the band’s increased use of metal riffs combined with extended musical interludes but also brings in strong compositional skills that give the songs the kind of consistency they require in order to be truly memorable and engaging.

This remains, however, a good album, and another triumph for Stuart Murdoch.

Its faults are minimal, though its highs are somewhat indistinguishable. In the end, you're left with a wash of mid-paced, hook-laden and relatively solid post-post-hardcore.

When an emcee sounds interrupted or unbalanced by the guitar and most of the music appears to be ripped from a bedroom jam session, it’s painfully obvious; Street Sweeper Social Club would better benefit society by performing said namesake operation.

Guns is a fun album, made for fun people, but that doesn’t mean that instants of awkwardness don’t result.

Bitte Orca is an unorthodox listen; racking your brain and melting your heart all in the same instant, and that is something to appreciate.

The Eternal is simply just another confirmation that Sonic Youth is one of the most essential---if not the most essential---indie collectives of the past thirty years.

The Ecstatic is solid from front to back, but it's not always entirely cohesive. The production is uniquely executed, with the beats often focusing more on sample placement than drums and bass, but it's this lack of a low-end that sometimes makes your head nod in backwards directions.

The most important takeaway when listening to The Pariah, the Parrot, the Delusion is that however centaurian the album as a whole may be, Dredg are a truly special group.

While any change from that tired normality is appreciated, it’s disappointing that so much of this is mediocre, that so much of this imitative, that so much of this is overblown, and etc.

New Again feels focused and sure; the band sounds confident despite yet another lineup change.

Similar to UGK's "4 Life" earlier this year Dilla's friends, family, and admirers have created a(nother) great tribute to one of hip-hop's great.

Veckatimest works like a cash-back bonus, the more you give in to it, the grander the return.

At fifty minutes long, and without a single climax, Arrivals becomes exhausting in its maturity, composure and homogeneity. And while it is a great album to chill, think and lose yourself in, it doesn’t seem to shed much warmth, much emotion.