If the group can somehow capture the more experimental and even odd edge of their different mixes, I think they might have something going. When they're just doing their thing, they simply sound like far too many other bands that are just trying to milk the legacy of the Jesus And Mary Chain a bit longer.

If you're a hardcore fan of Underworld, you'll find some things to love here (as I did), but others will probably want to reach for something more consistent.

In terms of overall sound and cohesion, it's a step up from the debut by the group, but it's almost clinical in precision and slightly numbing with riff after riff blasting away with the same sort of glossy production.

If you're fan of the previous work of Pole, tread gently (and skip the EPs and head directly for the album), but if you're looking to just start out with some of his work, head for his earlier releases.

Basically, Cansei De Ser Sexy sounds like a thirty minute dance party full of shouted vocal lines and vapid lyrics.

If you take away the 9 minutes of their already-released big single, you could probably squeeze a tight EP out of Louden Up Now, but as a full-length [it] starts with a bang and ends with sort of a whimper. Fun to filler in 53 minutes.

For every section that locks into something juicy, it's offset with three others that are just plain bad (or close to it).

If you enjoy ultra mellow jazz meanderings with the occasional slinky vocals that sound like they could be playing in the background at a mainstream coffee chain, Ma Fleur will provide in spades.

While everything on the release is technically put together well and even sometimes compelling (the two album-opening tracks work about the best), most of the time things feel like they've been written specifically for the person who's singing them.

The motions are there, but Beat Pyramid lacks real true depth.

[Most] of the album just sort of swirls through some nicely-produced, but ultimately not very engaging sonic fluff.

Woozy and stark, City Of Refuge is one of those releases that never really shifts dynamics too much (there's no rhythm section on the entire album) and feels a bit longer than it actually is.

Dangerous Dreams is just such a mixed-bag of goods that it's hard to feel much about it other than a couple of standouts.

Unless you're a big fan of the group, though, you'll probably find Do It! more than a little frustrating.

A document only for the hardcore fans.

It was a valiant try, but Tiny Cities just doesn't have a lot going for it unless you're a die-hard fan of Kozelek.

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

It's the sort of release that metal fans will probably like because it offers plenty of chunk-tastic riffs (that aren't too far off from newer, more polished work from Helmet), but dub fans will probably steer clear from because of it's focus on said heavy-fisted bombast.

Minus a couple tracks on the release (including the very Luscious Jackson-esque "Roll The Dice"), this release is more like the female version of Air or Stereolab-lite.

It's not that I have anything against the group doing something more poppy, it's just that the result sounds far too polished and plain boring compared to their regular work.

Given the past work from the group, Gimme Trouble is a major curveball, seemingly reveling in just about everything tacky about electroclash.