Although some have dismissed the group as glorified emo, the group has really gone far and beyond such a simple statement.

It's probably not substantial enough that it will stick in my head all year (and possibly not even until the ground thaws), but it is a highly enjoyable pop album from a young group who are riding some hype and getting slapped with backlash at the same time.

One of the better British rock discs that I've heard in awhile.

Highly recommended for fans of The Shins [and] New Pornographers.

As a whole, The Body The Blood The Machine is a bit more inconsistent than Fuckin' A, but at the same time has some of the best songs in the group's discography and some of the better arrangements [as] well.

It feels more like a transitional album than the next level for the group.

The group takes the term "clinical" to new heights, yet this newest effort still sounds more loose than their last effort.

I actually find it kind of funny that the group has managed to land on a large label with this release, because even though it's a bit more polished sounding than anything they've done before, I simply can't imagine anything on "Crimes" playing on anything other than college radio.

One could argue that it sounds like a different group on this release, and technically it is. Still, if you like the last album from Rogue Wave, I can't imagine you going wrong with this one.

If you like instrumental hip-hop and don't mind a few tracks with vocals (most of which are quite well done), Soft Money is worth checking out.

[A] blistering album.

This is nicely-conceived pop music that keeps things concise and interesting.

Despite the inconsistencies, Hello Everything is one of the best things that Jenkinson has done in some time.

Despite some tracks that take immediate hold, it's another album that takes a little bit of simmering to really sink in.

Just the right mixture of sonics.

A highly enjoyable album that doesn't beg to be parsed too deeply.

Your tolerance level for the group will probably mostly have to do with how well you can stand the rather light vocal stylings and the sometimes lighter-electronics programming.

I find Venice quite beautiful and downright stunning in places, yet simply good in others.

A lot different than the release under his own name, Audion is enough to make you sweat a bit whether you use it for dancing or as a soundtrack for *ahem* other activities.

It pays off big time in places while feeling a bit hesitant in others.

It doesn't always work, but there are more than enough explosive moments to pick up the slack.

Sounds sort of like a cross between a more mainstream New Order and Daft Punk.

Cinder isn't an album that wallops you over the head at any points, but wins you over with steady and solid songs.

An atmospheric slab of mostly instrumental keyboard-driven music that basically sounds like a further advanced version of what LaValle has been doing for some time now.

Overall, the album doesn't show quite the range that some of his previous works have done, but if you enjoy Waits, you're definitely not going to go wrong here.

In essence, it still sounds like Fridge, but they've decided to look backwards just as much (and possibly more) than they looked forwards.

In the end Just A Souvenir isn't quite as consistent as it could be, but it offers a nice new direction that will likely have a bit more staying power.

Taken individually, several of the tracks on the disc are the best that Gough has ever done. As a whole, the album just flows a bit inconsistently.