It is a well-written, solid debut that should at least establish the band a fanbase and give them time to work out some of the imperfections.

Pawn Shoppe Heart is a pretty kick-ass rock n’roll record.

This is quite possibly Explosions in the Sky's finest moment. Buy this album now and be ready to have your life changed.

Despite the extremely strong sonic points, most of the album falls short in the songwriting department.

Although annoyingly inconsistent, Infiniheart contains enough interesting tunes with odd arrangements and instrumentation to convince us that Chad Van Gaalen is a talented songwriter and multi-instrumentalist and is capable of producing engaging, lo-fi, ambient pop.

It’s the best batch of songs he’s had in a while.

Not a record for the faint-hearted then but one which certainly casts a commanding spell.

Somewhat predictably there are a few misfires--like the distracting “A Swamp Dog’s Tale” (featuring spoken word rambling from guest Lincoln Barrett) and the detuned-skanking instrumental “Dance Of Dirty Leftovers”--but overall the quality control is commendably high for a band still so young. The potential for something even more finessed--though no less barbed--next time around is clearly apparent. Until then though, this eponymous entrée is a stealthily impressive long-form introduction.

The self-titled album brings the listener into a glorious sound world of first rate noise-pop and never lets go.

My major complaint with the album is that the songs are far too short to provide an optimal listening experience.

The band's eponymous debut is a classy, memorable, and swooning collection of sophisticated pop.

With only a couple of real missteps--that could have been eliminated by a less democratic division of songwriting labour to cut the tracklisting to a tighter 12 or 13 cuts--this first (and hopefully not last) Monsters Of Folk release happily proves that super-groups can be greater than the sum of individual parts, when kinship overrules narcissism.

Whatever it is that Finn has done in his lifetime to create such a compelling album is wondrous; he has taken the natural gifts from his father and paired them with his own musical capability.

Like every other album, there are the trademarks we've all come to grow and love from the band and by the end of this, all of the most loving adjectives one could shower on an album will be spread all over The King of Limbs.

The Secret Machines’ Now Here is Nowhere seamlessly fuses nine tracks and crafts a brilliant and sometimes trippy path colored with a tapestry of melodic motives and fragments of reverbed guitar.

The music on Twins is more of the fantastically great quality we've come to expect.

Rouse’s ambiguity and storytelling, so strong on Under the Cold, coupled with the quirky pop pastiche that found it’s backbone on 1972, is what his latest effort is all about.

Thirteen tracks of exceptional music and a clear-cut success for Boucher.

In the end, there's solace in enjoying the refreshed music Future Islands continue to provide.

Happy New Year's only flaw is that the second half drifts a bit.

The Invisible Way champions everything that is great about Low and realizes it through a neat and clear lens. It’s a formidable outing and at number ten, a remarkable feat met with solid results.

Slow Focus is a tremendously gifted album; one that remarks on what electronic music is still capable of, while knowingly realizing that the sky’s the limit.

It’s absolutely astonishing that after so many years of excellent and superb music The Roots are still one of the best bands around. With Rising Down they have not only proved it but they have silenced all of the doubters and haters out there; this is really a special band.

While there isn’t anything as blisteringly heavy as 'Woof & Warp of the Quiet Giant’s Hem,' as gritty and grimy as 'Miss Spiritual Tramp,' or even as trippy and psychedelic as 'Hot Tip/Tough Cub,' there is still plenty to love on Furr.

Works For Tomorrow just gets better and better with every successive--and necessarily louder--airing, to the point where it does indeed feel like another genuinely great Eleventh Dream Day long-player.

Over the course of the album's 52 minutes, the eight tracks reveal a brilliance in construction.

Antics is a very strong record that is home to a number of truly incredible songs.

Hood’s particular brand of indie rock is easily recognizable and refreshingly unique, and despite a few faults along the way, Outside Closer is an excellent album, if not totally fulfilling of its promise.