Although the mid-record change in direction provides breathing space, it begs the question whether the album was truly in need of any.

Thomas' craft is tremendous for a newcomer, especially in an indie-rock moment that needs it.

A sprawling tour de force... It overwhelms you with its brawny rhythms, its artful arrangements and foggy atmosphere, and its thrilling instrumentation.

In a career full of perfect miniatures, Mountain Battles might actually be the Deals' best. It's certainly their most even-flowing.

So when Era Vulgaris comes as a bit of a disappointment, well, that's all relative, since it still rocks mightily.

Despite it’s pitfalls, Mo' Mega has great entertainment value.

From start to finish the album is well balanced and well fueled, and while it isn't quite the total package it is certainly a step in the right direction.

Garden Ruin is good, but there are a bazillion alt-country Coors rockers who could pull this off, and coming from an outfit with such a remarkable past body of work it is a disappointment.

Song by song, all of it melts into your head, relentless, narcotic and detached, yet ultimately positive.

This is rousing pop distilled down to its molecular structure, executed with confidence.

Smalldone's solemn and controlled croon, though subtly emotive, amounts to dismal verbosity. The Red River is a serious, introspective project that, like the narrating wanderer, shows no signs of its roots.

If you’re looking for music to make heartfelt love or fall asleep to, this here’s your record.

Their trademark wit is still present but less forced; instead it is more intelligent and reflective, and as the band produced this album themselves, the reward is apparent: they sound more self-assured and strong than they ever have.

Bolstered by the sound of a full band, with Heretic Pride Darnielle has created one of his best releases yet.

Everybody might be less than lustrous in their own catalog but tops most group's bests.

Challengers stacks up against the pillar of "Twin Cinema" just fine; it is the more restrained of the two, equally as satisfying, and more stylistically varied.

It's only now though that Patton's fully manifested his passion project minus the avant-garde overlay--and ironically scoring an unheard-of #2 debut on the Billboard classical chart in the process, possibly the strangest highlight yet of a strange talent's career.

If this is Lytle’s last musical missive, he’s left us with a complete, if unfocused, dossier of his genius.

Real Close Ones will likely leave listeners dumbfounded, but the album should nonetheless be lauded for its break from convention.

I'm prepared to defend this as hip hop's frontrunner for best album of 2007 thus far.

While the Raveonettes do little to shake things up on Control, they still have the unique and eerie ability to sugarcoat the most serious of songs with their infectious brand of music.

These songs are gorgeous and the band knows how to milk the beauty for all it's worth.

The one unique thing about Stewart's lyrical style (a sort of homage of shallow, U.S. suburban vernacular that paints a very specific picture to those of us from the suburbs) seems to be missing on Dear God, I Hate Myself. Sure, maybe it's even tongue-in-cheek, but I sure hope he's not joking.

Folky, orchestral indie-pop that's surprisingly effervescent and hopeful.

It is clear Holopaw know how to unearth beauty when grounded in the harshness of reality; they also have the wisdom to leave the indisputably beautiful moments just as they found them: ready and able to elevate the soul.

I can't remember the last time a popular punk album sounded this simple, lean and ready to conquer anything in its path.

The Rapture sound amazingly fresh right now.

In a way, re-releasing brand new material automatically canonizes it. You Are the Quarry received moderate praise, but listening to Live at Earls Court, you’d think his latest songs were some of his best, sitting comfortably next to Smiths classics like “Big Mouth Strikes Again.”