Cheatahs doesn’t make any great claims of originality, and it certainly doesn’t break any new ground. It just succeeds because it is what it is.

Guilt Mirrors covers different facets of Harte’s unfiltered work ethic, cobbled together into an unpredictable jumble of distinctive idiosyncrasies that somehow brings more clarity into his thought process.

The weaknesses are outweighed by the strengths considerably, and so shouldn’t detract from another impressive collection; how a band can keep producing music of relative significance in such a conveyor belt fashion is truly mystifying.

If you’re already a fan of 80s alt.pop, or modern shoegaze, then give this album a go; it’s by no means a bad album after all (despite my gripes). But if you’re not a fan this is unlikely to turn you, and may just make you yearn for some music with a bit more bight.

What Terrestrials does reveal about Sunn O))) is their amiability, their unique potential to bring the concept of Sunn O))), if not its distinct sound, to an album that really isn’t quite their own.

Although it may not sound as groundbreaking as its predecessor, Little Red’s introspection-on-the-dancefloor theme is fascinating enough to sustain multiple records.

Kozelek’s sixth project under the Sun Kil Moon moniker, Benji, is his most intimate work yet, thoroughly documenting definitive moments that marked his past and continue to haunt his present.

The band needs to play to its strengths, rather than a production style. This is not a band that sounds good with buried instruments. This is a group that sound best when they are in your face.

They just haven’t quite found the necessary depth to separate their clinical precision, an incredible feat considering Bagshaw concocted most of Sun Structures with bassist Tom Warmsley in his own bedroom.

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.

It’s very ambitious but also very flawed, but moreover it’s great to hear him take all these risks.

She's near the peak of their powers, if not actually at the summit.

While William Doyle’s career is undoubtedly on an upward trajectory and I am looking forward to his evolution as an artist, Total Strife Forever is hardly a landmark in electronic music.

It’s beautiful background music at worst but much more if it is given the attention it deserves.

After The Disco deserves to be heard and delivers a truly pleasant listening experience, rousing even, when the hooks hit the spot. But--and perhaps this is what the duo insightfully intended when they gave the album its title--don’t expect a party.

Actress’s music always seemed like meticulously detailed sketches that came to life and immersed the listener, but while Ghettoville comes off as an interesting sketchbook of ideas, it rarely transcends that to become something greater.

Too Much Information sounds more like a collection of tracks from different moments in their career than a fully cohesive whole but perhaps this isn’t such a bad thing.

It has all their trademarks--simultaneously elaborate and raw, idiosyncratically punk-rock, dedicated to chronicling the unrelenting ugliness of western society--but this time little of it sticks.

Like the super-impositions of the cover art, there’s nothing solid here (other than that all-pervasive bass-line), which is not necessarily a bad thing, but the general feeling of ethereal politeness does rather expose the moments.

An occasional retread, Innocence remains difficult to dismiss.

Age has its promising moments, but it overall fails to hit the mark. Gibb’s songwriting this time around just doesn't match the range and energy of his previous works.

They sure had the knack to look through the lens of their younger selves, which makes one think whether keeping it sweet and snappy would’ve suited them better. Regardless of their intent to reach out of their limit, there are bursts of inventiveness in Trouble that make the risk taking worthwhile.

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

Tracks like Silver Timothy and Silver Joy showcase what Jurado does best, crafting songs that despite being a bit gloomy are beautiful and heartfelt.

Too many songs disappoint, though.

Rave Tapes is a cohesive piece of work, its perspective blended despite variance in approach.

If you are seeking something original then this is not it; if you are a fan of good music and your ears need their medicine, this is exactly what the doctor ordered.

Contrary to the slipshod musicianship of their older peers, September Girls are more than competent unit that model themselves accurately with a toughened exterior, and most of the flaws arise out of its production inconsistencies; the most glaring being the distracting interchange between vocal clarity and obfuscation between tracks, and the whirring fuzz is stretched out far too thin.