Molly Rankin’s vocals throughout the record compliment the soundscapes perfectly, fanning disappointment with hope whilst exercising a great deal of control--and an admirable lack of bias--over her ponderings.

Her voice single-handedly eliminates all accusations of the sameness that could be shot at the songs, evens the pace of the album, and although it may not make up for the album's flaws entirely, it certainly helps hide them and is reason enough on its own to find enjoyment on this album.

There’s a deferential tone to Light Information that suggests he’s never really going to change his signature shtick, and even if we always know what to expect, it always feels like a warm return home from an always generous friend.

Hiss Spun is the first record from Chelsea Wolfe that commits entirely to the more catastrophic elements of her repertoire, and the results are equal parts stunning and terrifying.

9 1/2 Psychedelic Meditations on British Wrestling of the 1970s and Early '80s is, other than a long title, a quintessentially Luke Haines record, it's just not one of his best

There’s enough here to please die-hard fans.

Perhaps the most rousingly, entertainingly, ridiculously dumb record that 2013 will have to offer.

What they do rhythmically and spatially sounds great: the expanse, the air, the solid bass rhythms and percussive malleability.

Sweep It Into Space obviously can’t rival that career high, but it is a leading candidate for their best post-reformation effort.

Golden Grrls have put out a happy, smiley little record that doesn't overstay its welcome.

Their willingness to embrace worldly influences--and infuse their own urbanity--into their arrangements is crucial with regards to enabling the spirited reveries to accommodate the twins’ extrasensory wordplay, bringing a stability to the arbitrary grooves.

The overall sound may be modest, but in context, will most likely relate with those fortunate enough to live an affluent, fanciful lifestyle.

Seemingly straight out of 1970, The Making of You is a lovely album to which to reminisce about pre-pandemic times.

After such a wonderful introduction, however, the rest of the album devolves into a strictly hit or miss affair.

Aromanticism is downright beautiful but is also too enamored with its sensual aura, which sometimes exposes his uneven vocal acrobatics.

Range Anxiety is a deeply considered listen, one that relinquishes the audacious idiosyncrasies of Underlay EP in favor of a more scrupulous and intrinsic approach.

For their first official release on Secretly Canadian, Bodies of Water sound concise, powerful and eclectic.

She does blur the country influences to the point where they're almost unrecognizable, which does broaden her audience even if it diminishes crucial aspects of her personality. But as Golden Hour quietly unfurls, it makes Musgraves's intent all the more potent.

Respectably, Sun Airway do constantly challenge themselves by taking the unexplored route of achieving sturdy compositions through electronic textures, especially in a time when house and nu-rave are fast becoming indie's current electronic touchstones.

There are at least five tracks here which are a class apart from anything else they’ve written, and hint at a dexterity and professionalism that hadn’t really been previously evident. On the other hand, it’s probably the least consistent of Slow Club’s three albums so far.

It’s not Pixies as you’d like to remember them, but for the first time in years it sounds as if they’re actually enjoying themselves.

There's a hard-won maturity here that makes every single line of hers deeply felt, even if it also emphasizes the more cloying elements of her songwriting.

Fortunately, The Thermals like to venture into unfamiliar territory--songs sound more spacious when they need the breathing space; bass lines will override a song when guitars ought to blend in. And then there are the lyrical themes--listeners take their so-called simplicity for granted, provided they come up to the requisite standard of conceptual excellence.

Tei Shi has honed a dynamic spectrum of poppy R&B full of dexterity and revelations, and produced a solid debut LP in the process.

It's got a great tonality and texture to it that gives Adams' voice just enough room to rise above it. There are some songs that are right to be outtakes here, they toil that middle ground that Adams can on occasion slip into, and it's when he's at his 'nicest' sounding that often leads to the most uninteresting work.

Bambino is a record that is kaleidoscopically colourful, staying in charge of a viciously artistic wall chart of sounds and turning it into something impressively cohesive. In the groovefest that is Need a Little Spider and the deliciously sleek Double Dutch, there are some downright bangers on here for good measure.

While Wand’s leap forward didn’t live up to some of the expectations I’d had via 1000 Days, the light and engaging Charles De Gaulle and nicely-arranged harmonizing in Driving wouldn’t exist if not for the band’s efforts to do so with Plum.

Get Lost may not be the incredible experience that Living was, but it's still a very enjoyable listen.