This demonstration of versatility provides a hint of what could happen if the yin and yang find a little peace. As it is, on Silver Tongue, their occasional struggle leaves us with a worthy album with definite highlights, but some unfulfilled potential.

For all of its positives there is the leftover taste that this is an album that will please die-hard fans, but will ultimately leave those outside of that pondering if it was really needed.

jUSt is by no means a catastrophe, it's just too empty an artefact to recommend to fans of a band who once infuriated, teased, scalded, intoxicated and destroyed their listeners with effortless aplomb.

More than a curio but not quite essential, Myths 002 will not drastically change perceptions of either artist involved, but is another commendable display of their lack of fear when it comes to exploring new ways of work.

If nothing else, Messier Objects is a proper reminder of the beneath-the-surface merits of The Notwist's compositional talents.

verall it feels like a real thrift shop of curiosities with a few gems to be found if you go looking. And if you do, be prepared for a fair amount of sifting.

The arrangements and execution have finely coalesced, but the anything-goes spirit that sparked Blitzen Trapper’s late ‘00s renaissance seems to have moved on. The wild mountain nation has been tamed.

The Best Day doesn’t offer much in the way of compelling us to venture forth; that is, even if we were inclined to in the first place.

It’s a unique record, for sure, and one that deserves at least some of your time.

It’s an album that displays great faith in the late 70s/early 80s nexus of bar rock, punk, and 50s nostalgia, meaning that its melodies, riffs, and aesthetic choices often charm (to a point), even as its narratives mystify.

There are so many different genres, instruments, sounds and ideas at play here that at times its too much to digest.

There’s no doubt that Pianos Become The Teeth are fully aware of where they want to be; all that’s left is a little more refinement and consistency to get them to that point.

Most of the album functions as a dance album, and a pretty good one at that. It’s the sections of the record where the focus is shifted, and Melidis tips his hat to the rock and pop music of the 60s or 70s or another by-gone era, that let the album down.

The arty fusion of cabaret, baroque and psychedelia somehow places it between Beach House and more recent Fleet Foxes, but does not always make for the easiest of listening.

While there’s some quirky songwriting and clever lyrical tales on The Tourist, Clap Your Hands Say Yeah just don’t seem to be hitting the mark that they once did.

Rich in texture and enveloping atmosphere, Any Random Kindness unfortunately lets its lyrical content fall to the wayside. While this gives more space to let the incredible soundscapes breathe, it also feels like the real emotional punch to back them up is lacking.

Great Divide is a definite step up from the flab of Free, blowing out its cheeks impressively hard at first but it does run out of puff all too quickly.

Yellen’s vision is ambitious and expansive, but not always easy to digest.

All too often, though, Peace Trail sounds like another case of Young chucking half-formed ideas at the wall to see if anything might stick before moving on to yet another project. That said, there are genuinely powerful moments here that promise of better things to come.

Overall Dissolve is primarily concerned with the cultivation of atmosphere, which is strong and sustained throughout--even across the few weaker tracks--and it is a promising introduction to an artist with a clear vision and a quietly experimental approach.

It’s still clear, though, that she has too many ideas not to be able to take them somewhere interesting once settled into a new life. File under ‘transitional’.

Everything’s been cleaned up and beautifully balanced, and it’s for the better; the engineering is so good, in fact, it actually elevates the songs themselves. ... While nothing here [in the collection of six demos] is all that revelatory, it’s still fun to watch the band tinker with their songs.

The end result is an album sure to be a curiosity for fans but likely to be lost on everyone else.

The Rural Alberta Advantage bring enough intelligence and thoughtfulness to their music to ensure that it’ll appeal to listeners who wouldn’t normally like to admit to listening to soaring, emotionally open indie rock.

Tyranny is a fantastically interesting idea, which doesn’t always work as an album, but could make one hell of an installation

Nothing to rival ‘Time For Heroes’, then, but this as accessible, and as listenable, as anyone may have hoped for.

All We Need ultimately serves as another reminder that--with some seasoning--there is a great Raury record coming down the pipeline. This just isn’t it.

It’s a big world out there is certainly enjoyable, but I’d have been happy to do without the stuff we’ve heard before.