Most tracks on Larceny aren't exactly catchy, but the band's incessant enthusiasm and punchy delivery show that there's more to good music than earworms.

Both Campbell and Millan shine on their own, but the album's stronger tracks happen when these two team up together.

The emphasis on reacting to criticism and persona-maintenance occasionally overshadows the significant developments and leaps Tyler has made as a producer and musician on this record.

Surrender To The Fantasy is a reminder that Magik Markers is sort of an absurdist band at heart, willing to moon their audience and then have an intellectual conversation about it.

The story [House of Baasa] is a mix of glee and despair, and it fits with this album, a venture into the bliss and torment of matters of the head and the heart.

This type of zip-filed nostalgia is not particularly rare or new, but what makes this meeting of the minds work better than other collaborative vanity projects is the way these two artists' sensibilities flow seamlessly into one another, erasing any sense of the cut-and-pasting that brought the album to life.

CSP original tracks like "Mean Visa Kmean Bai (Have Visa, No Have Rice)" are a testament to the groovy (and peaceful) "golden age" of Khmer pop.

Spectrals' debut is mellow and accessible without being boring even though it has less fuzz than fans might be used to.

Although somewhat too sleepy at times, the album's journey of personal admittance uses the instruments strategically to ignite little bursts of hope and newness.

The band plays it safe here, but after going way off to left field on its last release, this isn't a bad thing.

These songs won’t convert skeptics, but they’ll give the faithful a few bloody noses.

Certain moments, like the opening and closing tracks, reach a little further past doo-woppish hippie funk into Ravi Shankar super-hippie sitar and ambient electro, suggesting a potential for experimentation in the second year of the Stepkids' existence.

A very pleasurable, punk-inspired listen. This is no-nonsense, fast-flying garage rock.

Kimbra's voice is strong, her beats are catchy, and after listening to the full 55-minute album, you're not quite sure what just happened, but you know you kind of liked it.

For the most part, the album stands as one of the stronger reunion records in a year that’s been practically overrun with them.

With this second solid Ladyhawke winner, she proves you can make them sing.

Not every song/experiment sticks, but there's enough sheer courage and musical inventiveness to merit back-to-back listens (and alienate swaths of hip-hop purists).

It's less bedroom, more band-centered than his previous work, but the music still feels uncomplicated.

This duo continues to develop without forfeiting the high-energy antics that have earned them such a reputable DIY name.

In a sparse 34 minutes, A Shut-In's Prayer switches tracks, tempos and narrators often enough to feel relatively fresh from start to finish.

With few exceptions, these are a solid collection of dance-rock songs and rock-dance tracks-Zonoscope represents the evolution of a band that knows what it's doing.

Though Loyal is a nail-biter at its core, the journey Alexander takes you on with this album ends with calm.

The album is deceptively simple, but underneath the easy-listening vibe lies a fascinating medley of genres and musical references.

Liberation! may not achieve its loftiest goals, but Bauer does manage to launch his solo career with talent and class.

On It's A Corporate World, the band's debut LP, Zott and Epstein are ready to let you step a little further into their joyous sonic world.

Sometimes lying on the wood floor or recording an album of pretty retro-pop songs is all you can do, and sometimes it's enough.

The Postelles is remarkably polished and consistent for a debut. If you're looking for something fresh, you'd do well to look elsewhere.

While the production and moodiness of the record are strong, the emotion that made much of their previous records such a pleasure has been a bit sapped.