Insignificance is the release that finds him hitting his stride completely, seemingly mixing little bits of all the different styles that he's poked around with and boiling it all down into a cohesive little release.

It's definitely a great step for the group.

It obviously has its high points and moments that drift a little more, but The Avalanches are definitely onto something with the release.

[Tamborello is] one of the better American electronic artists in the game right now.

Over the course of 11 tracks, it rarely rocks out at all, but instead moves through different styles with a more assured hand.

Over the course of 12 tracks and almost 50 minutes of music, there are hardly any dynamics to hold the listener's attention.

While there are a couple of tracks that are completely amazing, the album as a whole could have used a little better sequencing to make it more tight.

If you've listened to any amount of industrial music at all, chances are that you've already heard about every variation of mid-tempo, snarling track, and unfortunately several of those make an appearence on this disc as well.

You could take this release and pair it up with Boards Of Canada's In A Beautiful Place Out In The Country for a back-to-back hit of sunny, frolic-in-a-sunny-field goodness.

While Happiness never gets up and rocks, it's solid from beginning to end.

It's one of those releases that reminds you that with all the experimenting and genre-blurring, there is still something simple and nice about an album that takes fairly base elements of rock and roll and creates a disc that's highly catchy.

If there's one question to be raised with the album, it's that it's all simply so lush and nice that on some levels it fails to excite.

The group shows that their goofy sides can peacefully coexist with their harmonious, pop-song writing ones.

For most other groups, it would be a winner, but for Built To Spill it's a slight comedown from their stellar streak.

It's at its best when it puts Albarn in situations that you wouldn't normally hear him in, but also stumbles occassionally with a couple tracks that feel rather tossed-off and others that feel like they could have come off a Blur b-side.

Again shows that Eitzel is a total gem of a singer/songwriter.

It's kind of a mess in places.

It's a solid return to form.

It's a psychadelic haze of an album with layers upon layers of sound, many tracks so dense that lead singer Isobel Sollenberger just becomes another element.

In terms of sheer weight alone, the album can almost be a bit crushing. With 12 songs that run nearly 70 minutes of time, Cave takes his time getting there, but you really don't mind.

If you like well-constructed pop/rock music with female vocals, it's definitely worth a look.

This is one concept album that doesn't forsake listenability for pure experimentation.

Probably now their most accessible album, as they change things up a lot more than they have with past releases, implementing different sounds in nearly every track.

Low continues to create beautiful music.

In some ways, the 4 song EP is actually some of the most stripped-down work by the group, but it's also quite essential.

Whether they're toying with different sounds that have been explored by other groups or pulling out the stops on tracks like "Air Methods," they've still managed to create an interesting batch of tracks.

Although a couple tracks towards the end don't work quite as well, it doesn't detract from the album as a whole very much.

Quite possibly their best album.