The seasoned tone and familiar production lend Wu Block ease and listenability, but also result in empty posturing on tracks such as "Take Notice" and "Do It Like Us."

When Fink sings, “I think still after all these years, something still burns,” on the chorus, seven tracks in, we’re left feeling less like teens trapped on an island and more like parents who have beaten the odds and stayed together. Similar disruptions that take us away from “teenland” are the records’ main fault, though it’s largely successful as a sunny summer album.

Props are in order for Green stepping out of his comfort zone. However, subsequent LPs are going to need to be more refined before they're ready to be deemed truly beautiful.

Our Nature ties the song's stories a little closer to earth while allowing the music to dreamily swirl its listener into reverie.

Aside from a few enticing revelations of Bloom’s potential, Glow & Behold takes the band to a calming low after too many safe turns, diminishing the exciting luster they once exuded.

Emotion is the string connecting the album's 13 songs, which don't quite feel cohesive but never fail to surprise.

By being so low-stakes, the album struggles to justify itself as anything more than a cozy sweater’s worth of songs.

Sonically, The Path of Totality feels culturally authentic and trendy, while at the same time, pounding enough for mosh pits and dance floors alike.

Alone Aboard the Ark doesn’t tackle any major challenges that might have elevated The Leisure Society above an expanding pool of indie folk artists they’re now swimming amongst.

A fair amount of the content on the debut can be summarized as dull or even expected. That said, this is a solid pop record, and one that should find an audience, namely the same audience that found the band's biggest influences.

It redeems itself by demanding careful listening: There's always something unexpected around the corner.

Instrumentally, it's one of the stronger efforts from the band, but altogether it doesn't do enough.

Because Heavy Rocks can't seem to figure out what it wants to be, it falls short of other Boris albums.

An intriguing if uniquely disjointed experiment, and one that likely benefits quite a bit from familiarity with Charles Reznikoff’s work or seeing its theatrical accompaniment.

All that's "green" isn't necessarily gold here, but most of it shines.

Permanent Signal’s lack of ambition and almost-there mentality will leave mouths craving something a bit more flavorful.

James Morrison drizzles his velvety-as-butter voice all over each of the 12 songs on The Awakening, his most recent foray into contemporary soul, where the balance between the cheerful and the cheesy works more often than not.

Though some of these songs would work well on their own, as a full length, they lack fluidity, consistency, and an overall theme that usually binds songs together.

Despite standout moments within most of the songs, nothing on this album except perhaps the closing number, "Till the End", truly stands out as recognizably Raveonettes.

That being said, though, while Codes and Keys is a pleasing listen, it ultimately does lack the depth to make it really memorable, and some of the sacrifices made to create its poppy aesthetic are terribly unfortunate.

Like Clinic or Mind Spiders, Hooded Fang perforates their darkest parts with music that laughs at itself.

There are special moments to be found in this disjointed musical grab bag, so if nothing else, the record at least gives enough reason to keep an open ear for what comes next.

Like One Love, Nothing But the Beat is about what gets people moving on the dance floor.

Nothing on Adios, I’m a Ghost offends, and in fact it’s often pretty good. But it doesn’t leave much of a lasting impression, either.

Lerche's pretty falsetto around an unexpectedly funky beat before blossoming into a harmonious choral chant that evokes the kind of hard-won joy depicted at the end of movies, where people with tear-stained but smiling faces sway back and forth with their arms around each other.

With The 1975, the Manchester group has crafted a skillful pop album that you can listen to while you stare out the window at some dreary weather or while you drive around with the top down, not an easy expanse to cover.

Overall, this is a very accessible album, but it might not be enough to push anyone from one camp into the other.

It’s a Moby album for sure. No gimmicks or schlocky attempts at something trendy like dub-step, and no curveballs to polarize fans.