Velocity is one massive dose of extremely fuzzed-out pop.

A number of songs crumple under the weight of the album’s ambition.... Regardless, Amore del Tropico is a fine, fine record: a lively, lovely concept album that bridges the gap between Nick Cave and Calexico.

Nick Franglen and Fred Deakin rarely miss with this album.

One of the more unique pop albums of the year.

Musique Automatique captures both the vibrant spirit of Europe as well as the feel of modern pop to create a wonderful album.

Power In Numbers is like a coming out party for J5, as it shows their ability to shed their label as a novelty and proves they are talented in their own right.

While Petty is to be commended for putting himself on the line in some manner for his beliefs, the spirit of music would fare better if people of his stature took a harder stance than he does here.

It’s the rare reunion project that actually adds something of significance to the band’s catalogue.

While the idea of delving into the cars of local wrecking yards and their contents is an interesting one, the music that emerges from it is noticeably weak, in comparison to other works in the genre.

For completeists only.

Man Mountain is a poor album. It feels forced (the worst kind of feel for this kind of music), it feels cheesy, and sadly it doesn’t conjure many more feelings beside ‘I think I know what they might have been going for with this…’ Unfortunately they never get there, and it’s a chore to hear them try.

You best spend your time listening to older Xzibit joints and wait around for the next one to buy new.

The psychedelic underpinnings of old are cleaned up a bit and the anger and bile that lay beneath the surface of the earlier material has been calmed, but there is still much to be enjoyed.

It improves on Mutations with sparkling variation and a depth of emotion Beck seldom seems to achieve.

Despite some clunkers, Dirty Dancing delivers.

An album of quiet, introspective folk music.

Separate, the songs all sound great, but together, they don’t make a real album.

Their best album since Dubnobasswithmyheadman.

Some of the most listless, unaffecting music the band has ever penned.

Earle's strongest release in some time.

While Barnes' lyrics don't indulge in apocalyptic imagery or read like autopsy reports, the lyrical subjects range from death, to low culture, to existentialism. When combined with such inexplicitly peppy music, the somber nature of Barnes' lyrics welcomes hesitant laughter.

There’s really nothing to this record.

The songs are intriguing and engaging, invoking the ability to make audiences to both dance and pay attention to how well the music has been produced.

While Ancient Melodies worked boring, repetitive structures into Martsch’s typically simple song structures, Now You Know brings new life to them. Unfortunately, this album is nowhere near as good as Built to Spill’s previous works.

Make no mistake about it, I Phantom is a fantastic record.

The sound of the recording is clear, the audience is not annoying and Hayden’s banter in between is quite humorous and as good as the music.

Sadly, there’s no escaping the fact that Squire’s solo debut is a one-paced, uni-directional affair.

A tender, imaginative collection of disparate songs, How Animals Move is less an album than a steady stream of wonderful, unpretentious surprises.