Each sound swerves about unpredictably, as free-willed as particles twisting through a vast nothingness, powerful and intricate in their brutal simplicity.

Starry Mind is both an effortless listen and a taxing one, blending easily into one's surroundings while also rewarding intense examination.

Rather than attempt to recruit other players and resume business as usual, Broadcast subsumes House’s spectral compositions within a framework that suits every one of the duo’s strengths. If there’s anything scary about this at all, it’s the ease with which they’ve made the corpse of pop songcraft climb from its grave and walk anew.

100 Days is a straightforward progression of rhythm and blues, but on the gut level, well, words like "modern" or "derivative" become fairly worthless.

It's Dirty Three as they've always been, testing their limits, but still producing some of the prettiest and most artful music around.

For new listeners, this is the most accessible Sand album to date, but for veteran Sand nuts, this may be... well, just different.

This album sounds in many ways like an amalgamation of her previous work.

The Eternal is accessible, listenable, and all the rest: another consistent album from the consistent rock band Sonic Youth.

It’s a soothing cushion of chaos, like a bloody valentine, a buzzing saw, and an amazing star exploding into particle dust.

The solution to enjoying this album, then, is to not ask it to provide heavy drama, high art, or fiery revolt – it's just pop music with a slight twist, and it's first and foremost about having a good time inhabiting glamorous guises and histrionic voices.

There are hooks, and as usual Pink has an uncanny ability to worm his 80s-worshipping melodies and one-liners into your head whether you want them there or not, but the grand effect of Dedicated to Bobby Jameson is that of a restless mind finally beginning to slow down, settling into its patterns rather than excitedly seeking new ones, and struggling with one of the most unavoidable, stinging realities of being alive: disappointment.

Earth's greatest strength is also its structural weakness; to continually enact the tremulousness of all origins is to refuse to get going, to depart

This is frivolous, immaculate music.

Truelove’s Gutter abandons the lush strings and complex production of previous work for a more straightforward style, and the results bring to mind the honest, plainspoken albums that Cash and Jones recorded in the mid-70s.

It’s not an incredibly remarkable record, but when a band is this consistent for this long, it’s hard to fault it.

It’s a gracefully self-contained ecology--a sonic environment rich with empty and warm spaces, within which the listener is urged to breathe more easily and share in a queer feeling of belonging.

Downright seductive.

Double Cup sounds like an album Rashad has been gearing up to make, but instead of abandoning the footwork style he has championed throughout his career, he’s scoping its potential on nonconformist terms. And from the perspective of the listener, it’s an absolute treat.

It’s precisely because of the transience and mutability of Open as a whole that its fleeting moments of splendor prove all the more affecting and beautiful, despite the possible contention that--because of the often contradictory accompaniment--these might not be moments of splendor at all.

Vs. Children is a pleasant but uncaptivating album, and I’m inclined to believe, especially when confronted by his album’s deliriously enchanting highlights, that Ashworth is spreading himself a little thin at his current pace.

On top of being instrumentally impressive, One Life Stand is Hot Chip’s most emotional release.

Filled with quirky and inventive pop songs packed with sultry harmonies and an immense level of musical intuitiveness.

What makes The Historical Conquests Of... a great album and not just Ritter’s foray into stylistic versatility is the integrity of his musicianship. The album is thorough; it is complete.

Glass Boys is the best album Fucked Up have released so far, by virtue of it being the “laziest” collection of their career.

@#%&*! Smilers walks its own path as a uniquely beautiful addition to Mann’s already impressive catalogue.

In a word, Gloss Drop just sounds confused, and its structures don't challenge or excite.

There is a creeping charm to tracks that seem initially off.

Level Live Wires, is almost a pitch-perfect continuation of 2005's "Burner."