Mylo Xyloto does have its unpredictable moments, some of which work more effectively than others.

There’s the promise of another knockout. One that, unfortunately, takes the liberty of reshaping past half-baked ideas without really adding much flair to Clark’s otherwise intriguing exploration of fame and femininity.

Overall, Almanac is a good follow up that helps cement the band's holding in the new age of dreamy folk rock.

The nine tracks on this record are nimble, charismatic, and ultimately make for an enjoyable if unspectacular listen.

There seems to be an innate knack for melody on display here that produces several moments of pop joy.

The tempos vary, sort of, but there’s a mood on this record that’s hard to qualify and never wavers.

Fading Parade may be trodden down, and it does meander on too much diffidence to make it readily distinguishable. It is also a pleasant lull, prepped with a rich gamut of melodic rewards.

They manage to satisfy the listening needs of die-hard Fleet Foxes fans, but fail to truly carve out their own unique musical identity. This isn't to say Poor Moon doesn't offer up some great moments-they really do-just not ones that stick with you long after the record is over.

Slow Summits presents The Pastels at their most amiable, bearing the quiet, understated splendor of a picnic with friends on a warm Sunday morning.

Even with a diversity deficiency here, you have to admit that this is album is noteworthy. My suggestion is to gather up his entire catalog and put it on a random shuffle so you don't suffer from the monotony.

The excellent-to-annoying song ratio on this album is definitely high. Still, their first record was solid from start to finish, and this one smacks so much more of Lennon/McCartney than Kapranos/McCarthy.

Hiperasia is an incoherent mess, sure, but a fun one, too, splattering all kinds of disparate, colorful sounds in the hopes that some of it will stick.

The dangers of crafting intricate visual and musical landscapes, as is the tradition with Empire of the Sun, are exposed with Two Vines. Getting it right is so rewarding, but it's a daunting task to replicate such a vision on each track. When they fly, they soar. But when their artistic façade fractures, the cracks are just too glaring.

Ritual Union is catchy and well-produced, but it certainly doesn't demand any more than a handful of listens.

It is that sense of self that prevails over the pop sheen of Rolling Papers and makes it worth more than a passing listen.

It's good, but it's not essential.

It’s Frightening isn’t a bad album in its own right. There are certainly worse things than making a record that’s frequently catchy but not terribly exciting.

With this latest (and perhaps last) album, it’s still true to say that Xiu Xiu haven’t delivered a wholly complete work, but then it probably wouldn’t be a Xiu Xiu record if it was.

Overall, these tracks feel more like the B sides of Random Spirit Lover, maybe the acoustic B sides, the tracks that didn't quite make the cut but would definitely be of interest to ardent fans.

If albums could have Nutrition Facts, Quarantine would lack the vitamins and minerals we normally associate with Laurel Halo's production, but it's hard to dislike the album entirely because, after all, she's still quite skillful at making her Metal Gear Solid-esque ambiences seize and enrapture us with their swirling, bubbling drones.

There’s promise here to be sure, but it’s a promise as yet unfulfilled.

For those fans unable to acquire a ticket, this finely recorded set of songs makes for an ample substitute. For non fans however, this is unlikely to thrill.

The Catastrophist is an odd record--an album that was probably more interesting to perform than to listen to.

There are times when their elementary to songwriting can make them look as if they’re stuck in their teenage angst, which is expected considering their genuinely fun play on nostalgia is quite detrimental to their brand. But the tunes do stack up, and when it’s delivered with this much conviction, that’s reason enough to rekindle that loyal, longstanding friendship with their most ardent fans.

Clutching Stems doesn't hit the highs some of the band's albums have, but it features some added-in coherency that quite helps the album along.

It’s promising, but if it catches you in a bad mood, it might cause a headache.

theyesandeye is charming, and even throws in a cover of The xx’s Angels, but is lacking the dimension required to make it anything more than a polite and pleasant affair.

There is some nice arrangements here, even if too many of the tracks sound like they belong on some type of chillout/easy listening compilation.