Teeth Dreams fits squarely in the band’s wheelhouse, generating the same sundrenched feel as their past records while simultaneously cultivating a sound and direction that is new for the band.

Burials is an album you’ll want to replay, especially as the days get darker and the weather gets colder.

Now the experimentation with electric guitars, even more electronic sampling and a focus on vocalist Becky Jacobs has brought Tunng to a paradise of exceeded expectations.

In between, we get plenty of striking melodies, at least a dozen quotable lyrics (“Tomorrow’s the name we changed from yesterday to blame when the train just don’t stop here anymore” is an instant Duritz classic), and an arrangement that shows off the Crows at their loosest and most vibrant.

Overall Wig Out at Jagbags isn't exactly a disappointing release, especially since it's far better than the breed of record many other artists multiple decades into their respective careers make. It is a frustrating one though.

In rippling the delving guitars and gripping drums with a tenacity that is tough to deny, The Acacia Strain find themselves again with just the right recipe--giving us a much more concentrated opportunity for catharsis in the key of anger.

Hands Of Glory is yet another right step in a discography which is yet to falter or fail. This is as essential as a bits and bobs album comes.

Young Guns are vastly talented and laden with armfuls of potential. One listen to Bones proves that.

It's a version of All Time Low that not only has zero interest in moving past its pop-punk roots, but is embracing them with more vigor and pride than ever, laying the groundwork for punk bands that imagine a world where "maturing" doesn't mean leaving behind what you grew up loving.

The quintet have honed in on their strengths and produced their most concise and assured release to date.

The fiery temperament of former releases often gives way to that aforementioned arena-sized pop sensibility, making No Gods sound bigger (and more attractive) than anything this band has written before.

If you’re already a fan of the band, Hold On Pain Ends delivers in every way.

The Brutalist Bricks sounds nothing like that at all. Ted Leo is still very much in his prime, and Bricks is as relevant (and as great) a record as you'll hear in 2010.

Both daring and down right difficult to turn away, consider this among the band's finest work of their career thus far.

That we're still able to observe the funloving side of the band while also getting to see that there's more to them than that is what makes Two Thousand and Ten Injuries such a charmer. That their compositions sound more precisely constructed and flat-out better this time out doesn't hurt either.

Grace and Lies is a terrific disc and the signal of a strong new talent, but far too often the entire effort feels like a solo album and a vessel to showcase Krans' alto voice.

Loom is just the band's first full-length, even though it sounds like a band's third or fourth album--a testament to the band's ambition and skill, which will ultimately place Frameworks in the same room with genre-pillars Touché Amoré, Pianos Become The Teeth, and La Dispute.

There are far less cringe-worthy lyrics, and a sound that seems far more natural for the band as a whole.

Eighties punk enthusiasts with a taste for hip modern bands like Japandroids, Tapes 'n Tapes and (the late) Jay Reatard, or hell, anyone who can appreciate spirited rock music delivered with verve, should find The Soft Pack to be a delightful and exciting listen.

Such storytelling songwriting on Close The Distance is unmatched by anything Lancaster has ever penned--and I mean ever.

For a band as talked about as they are, Voices needed to be a lot better. For now, it’s just okay.

It's punk rock for the same fans who loved Hot Water Music years ago.

Blak and Blu is the very definition of a bellwether, and the resounding answer to all of the many who have predicted such greatness.

Wether or not Little Red is better than On A Mission is up for debate; the former is a much more consistent and even listen, but the latter features much higher highs and lower lows.

A shake up in the lyric department would be nice to see next time around, but on this outing Lana Del Rey is able to sell it with striking vocal performances and breathtaking compositions.

Tapestry of Webs makes the band's debut EP seem like forgotten practice demos. Across the board, the album displays acts of jazz, salsa and anti-post-pop (if that's a word), and it all leaves the listener coming back for more.

It's musically complex and ambitious, but flashes of powerpop shine through, making this Aloha's hookiest effort to date. Its pop aspect is more nocturnal than sunny, though, with its colors showing subtly vivid in the twilight.

For near-perfectly executed indie-pop, we the lucky listeners don't have to wait for a "next time." Cults have struck gold the first time out.