There might be a few lost moments where the music stagnates from a lack of true skill where neither member of the pair does much but they come in sparring moments. And for the most part, the songs are too direct to even truly analyze them as anything more than lifting, carefree music.

The band's latest release is a substantial departure from previous efforts, employing a strong post-punk vibe to its production, with repetitive, pronounced bass line and drum rhythms (courtesy of Ailidh Lennon and David Gow, respectively), wiry guitar agitation, and the feel of being recorded in an empty room.

A decidedly mixed bag that offers many captivating songs but not a consistently high-quality artistic statement.

A winner from start to finish.

Alternating between sounding like a gremlin and sounding like a baby, the vocals don't so much haunt as distract.

These are two distinctively different sounding EPs but they are successfully united by Condon’s never-failing trademarks: wonderful vocal lines, linear melodic patterns and that soothing voice.

The consistent, unwavering quality songs make up for most of Jaill's derivativeness. It's pretty hard to write meaningful music out of such rooted conventions of guitar, drums, and bass, but That's How We Burn is engaging throughout, which is quite an achievement for a meat and potatoes rock band.

These initial songs are noteworthy by any measure; the remainder of the album, then, is a bit of a let-down, especially on first listen.

Whatever the band loses in spastic energy and volatility on Zoo, it gains in melodic constancy.

Not only the best Album Leaf album to date but one of the best albums of the year.

Nothing here is horrible, but nothing here is great.

Surely the best album (so far) of 2012.

If you don’t like noise records then you [should] steer clear of this, but if you happen to like listening to the sound of vacuum cleaners, video games, dishwashers, and other major appliances, I suggest that you buy this immediately.

The album finds the Vancouver collective making only subtle yet effective changes to the way it does business while the songs remain as sturdy and taut as ever; it's one of the most reliable releases you're likely to encounter this year.

Surprisingly enough, it lacks a strong sense of focus (something the creative basking of Sea Lion honed in on) and for all of its elements of sweeping grandiosity, they never seem to have much of a purpose.

Arm’s Way is an exceptional album in its own right that serves as overwhelmingly convincing evidence that Islands is no one-hit indie-wonder and still has enough talent to get them exactly where they want to go.

So there we have it, more of the recent same and sufficiently good enough to keep the good ship GBV sailing onwards. However, a little more variety and a few more Tobin Sprout songs next time around would certainly help to prevent any risk of drifting into more ponderous waters.

Some patience and repeated plays will be needed to digest the concise, offbeat and scratchy melodies from this eccentric, bedroom electronic artist.

Bardo Pond is not necessarily Avant-garde, but neither is it easy listening. It does however, defy categorization and perhaps with a little less unguided frenzy and a little more tempered structure would allow this reviewer to recommend it.

If you’re only looking for a handful of records this year drawing-up from the seemingly bottomless Krautrock well, then make sure that this is one of them.

The band's most “accessible” album to date.

So, reliable business as usual then for The Sea And Cake but with enough under-familiarity to neuter any contempt. Long-time loyalists will have few complaints.

It’s great music and it clearly showcases the fact that Grampall Jookabox should have a steady and successful career ahead of him.

Although music lovers who normally don’t appreciate experimental noise will find some things of interest here, this is really an album for people who dig material a bit more avant-garde.

There was definitely a clear division as to what kind of album they were intending to make beforehand and it's brilliantly showcased all over. Further's opening two songs attest to this with a melting of new ideas that immediately signal a new coming.

Bee Hives is a mostly instrumental album that heavily favors the fuzzy keyboard tones and heavy reverb of the band’s early work.

If you're a hardcore Interpol fan, already accustomed to the gloomy, brooding aspects of the band's full-releases, I would strongly recommend Our Love to Admire as a solid release which easily competes with Antics. However, if you've only dabbled, this album isn't explosive enough to edge out many of the other recent releases in this genre.

This is a transitional album, it seems: there are a lot of attempts here to do something new, not all of them successful. Still, it will be exciting to see what they transition to.