Although there aren't any obvious standout hits here, that's not what FlyLo intended to create. Instead, Until The Quiet Comes blends together into a lush electronic soundscape you can daydream to.

They may not be particularly youthful anymore, but there's plenty of transcendence to be found on this record.

Sun Airway may be losing some of its psychedelic characteristics that attracted many of its original fans, but the new sounds allow its lyrical creativity and musical experimentation to grow without confinement.

Midway through Heavy Mood, Tilly hits a lull; "Hey Rainbow" and "I Believe In You" just don't pack the eclectic Tilly punch.... The pace picks back up with aggressively positive ender "Defenders."

The production sounds more expensive, but all the passion and intimacy of their previous work remains.

Although it could have ended on a stronger note, it's a fitting conclusion to the pleasant trip through Melody's spacey dreamworld.

These varied sounds signal a growth in the band, one that will ultimately save the Soft Pack from forever being stuck playing angsty teen music.

The group took more time crafting these songs, and because of that, the album seems almost effortless.

With one album completed under the new lineup, Harris and Seim show that they'll continue guiding Menomena in interesting, unpredictable directions.

LV's skill and savvy when it comes to crafting spotlight-gobbling beats presents the biggest drawback for the album in that it's disappointing that there's not one instrumental number on Sebenza.

It's everything to be expected: Dinosaur Jr. sounds relaxed, takes a laid-back approach and still manages to make an album that stands up next to everything else that the band has released since its resurrection.

The album is at its best with "A Matter Of Time" and "From Here On Out."

While the xx allowed itself to get mildly playful on its debut album, those moments are stripped out on Coexist as the band further minimizes its already minimalist approach.

Putrifiers II is not the masterpiece TOS fans may have been hoping for. But it is another piece that let's Thee Oh Sees maintain the role of reigning masters.

David Byrne and Annie Clark (and to an undetermined extent, St. Vincent producer John Congleton) achieve a remarkable symbiosis on Love This Giant.

Through it all, Lekman's wit remains intact.

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

The compilation moves like a mixtape and the tracks work better together than individually.

Oddly enough, the most striking part of the record may be the transitions.

Not good, bad or disappointing, but frustrating.

Throughout all 13 of these tracks, whether fuzzed-out and aggressive or scuffed-up and jaunty, the band is so laid-back and mellow that there's never a break in the mantra: Nothing Bad Can Ever Happen [sic].

With its multiple parts, its recurring motifs and its thematic hutzpah "USA" isn't easy to parse or process, but it's not impenetrable; Deacon remains committed to pop forms and rock songwriting despite his concert-hall inclinations.

Instead of feeling like a testing ground for a series of wild experiments, White has crafted a collection of hushed character sketches worthy of Randy Newman or Bill Callahan.

Enterprising Sidewalks is a multi-layered listen.

What the album seems to lack in originality, it makes up for in classic rock 'n' roll sensibility.

The years spent pursuing other musical projects refreshed Bloc Party, and the unofficial reunion record finds the band making an intense comeback.

Its [closing track Close Company] guitars are huge, its drums are pounding, and it sums up the record perfectly: dark, sexy and gargantuan.

If the album has a significant weakness, it's that despite the impressive attention to detail and the impeccable production work, the record can't quite shake that side-project feeling.