In just two very natural albums, the dudes from Ridgewood, New Jersey, have managed to ensconce the indie ethos better than anyone has in quite a while, and the time of their season is right now.

Most of Living With the Living is in fact very good--which is to say that only some of its songs emerge as equals with the best of Leo's personal catalogue. [#24, p.90]

This is a new Clientele--very similar to the old; just happier, brighter and, yes, better. [#25, p.98]

Some songs are happy songs; some are sad, but the pure joy of melody shines through in every one. [Summer 2008, p.92]

The band puls science closer to post-rock with songs like fractals, repeating notes until you don't think you can bear their recurrance, then spangling out into gorgeous odes to the passage of time and the beauty of the loss therein. [Fall 2008, p.102]

Bolstered by Webb's shoegazing sense of melody, Nothing Hurts pushes over and above the static possibilities of lo-fi. [Spring/Summer 2010, p.110]

Gorgeous tracks are as eerie as they are sonically cosseting, all weirdly effected electronics and gossamer vocals.

Welsh and Otto reach those who can find self-fulfillment in unearthing complexities, especially ones that lie underneath a surface subtlety.

The effort drags a tad in its center, but the heaviness of The Drones' material has never been devalued by a bit of lag. [Winter 2009, p.106]

A dash of otherworldly sounds give the otherwise good album that extra oomph on tracks like “Istanbul Field” and “Philadelphia Raga,” but the album bleeds more indie-punk blood than anything else.

The success of Bromst is in Deacon's ability to stretch his compositions out, giving space and finding a better bridge between saccharine hooks and sampling experiments than he was able to provide on his previous LP. [Winter 2009, p.98]

"Son" was a hushed wonder, full of digital loops, whispered lullabies and surround-sound chill. Its dizzying template has mutated nicely on Un Dia. [Fall 2008, p.97]

This album has a vibrant crosscut of all GBV’s personalities, and for that they deserve applause.

The songs are mostly strong, but by the end, your legs stop kicking and your butt stops shaking.

It starts losing its nuance halfway through, creating a distraction from the effort as a whole.

[The Ravenonettes] help to remind us what makes harmless romantic music like Bobby Fuller and the Ronettes so perfectly dark. [#6, p.88]

The sparkling solo project of multi-instrumentalist Adam Pierce, Mice Parade specializes in chilled indie arpeggios that swell with craftsmanship. We can now add to that description "crunchy sunshine," in the case of Pierce's third effort What It Means to Be Left-Handed.

"Beggars" and "Leave It," are tunes fit for the space age that spans genres so easily that it leaves you wondering what this talented group could create if they grabbed a map and pinpointed exactly where they aim to be going.

Fair Ain't Fair offers more humanistic, good-humored songs than his previous records, and expansive numbers such as 'More Clouds' and opener 'Roots of a tree' reveal a man who is letting his talent breathe. [Spring 2008, p.103]

It's the band's most fractured album to date, folding art-garage conventions into themselves instead of working them into song structures.

Welsh rock trio The Joy Formidable gives us a roar that makes things of the '90s seem modern again.

Natural, their first album of all new material since 2002’s Oooh!, is more of their brand of sparse, postmodern folk that will mostly appeal to their already devout niche of fans.

Although Total Loss focuses on the deterioration of relationships over time, it's interesting that each track inverts that idea by flourishing with every second that passes.

Pure and unabashed pop bliss. [#21, p.102]

The words would be perhaps somewhat unremarkable without the grandiose sweep of sonic majesty that surrounds them.

Whether making us dance or encouraging us to think, Kelis is always out to fatten us up with her musical menu.

The pair balances out the other's weakness, bringing you finely crafted storytelling set to diverse musical influences rooted in good ol' folksy rock.

At times the lyrics come across as naïve and disconnected.