Keep It Flowers is an edgy, brash, and well put together statement that mostly goes down easy.

PRODUCT is truly what you make of it - both highly addictive and somewhat unfinished, it leaves a good amount of open space for the listener to construct a set of vivid, imaginary images into something personal, even meaningful.

Champ sees Tokyo Police Club with a firmer grip on their sound, their vision, and their conquest; and although not destroying expectations, it makes good on a lot of the promises their earliest work showed off.

In substituting the ferocity of their debut for positivity, Eagulls have constructed a very good record that is arguably better than their well-received debut.

Perri needs to lean into the experimental nature of his work—take more risks, and avoid being so laid back that his ghostly melodies have all the impact of a polite, good-natured apparition.

The Woods is solid, well crafted and intensely energetic, but a magnum opus it is not.

On Offers, NE-HI never really commit to a major departure. So while there are glimmers of a new, more refined sound, it’s the carefree, guitar pop that still stands out.

Father of the Bride does succeed in a musical sense-it could've done without the sparse synth ballad 2012 or the bastardized bossa nova of Spring Snow, to give a few examples, but most of these instrumental curios reaffirm Koening's reflective, and possibly solitary, approach to get back into the flow of writing music.

Summer 08 is good work from Mount, and an album with its fair share of corking tracks.

There's a fluidity and looseness to White's approach on Fear of the Dawn, giving the impression he's having a good time kicking it with his buds in his garage.

Pop. 1280 are still concerned with the dark underbelly of the human experience, though the sneakily measured Paradise proves that even the most degenerate souls deserve some sanguine aggression, too.

The album finds Peter, Bjorn and John settling into a comfort zone that, while hardly groundbreaking, makes for intriguing listening.

They haven't changed their sound much, but more of the same is hardly a problem when it's this enjoyable.

Even though there aren’t any forcible tracks or extreme depth to this album, it captures an experience that should be played out entirely.

Every track is a potential hit, and Sia’s use of pure pop hooks, coupled with an astounding control over her rampant voice, makes this a very good record.

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.

Invigorated and with more purpose, Oldham feels the wholeness of family and unity. Whereas past projects lived in a state of flux, Oldham now feels settled and at ease. It does sound like he's found the "lightness," after all.

Despite how structurally disciplined it sounds as a whole, their chamber-turned new wave hybrid should suffice for those who couldn’t fathom it from front to back.

What's fascinating about their return in album form, Sixth House, is how they manage to pick themselves quite faithfully from their teetering anthemic force.

Vampire Weekend is indie rock with its edges sanded off, polished to a clean, sparkling sheen.

It’s not going to change the musical horizon, as there’s absolutely nothing new here. But the oldies – the hilarious Chicken Payback, the beautiful 50s ballad I Love You, or the exuberantly wonderful One Glass of Water – are strong enough to make this both a worthy successor and a promise for the future.

Overall, Lamb of God is a solid outing featuring a handful of tracks of potency with some genuine disaffection behind them, which shows the group has plenty left to say ten records in.

Fear Inoculum already feels like an event—It's the kind of grand statement that will equally delight and confound, where Tool allows themselves to highlight their technical prowess with uncompromising integrity. Though the lengthy tracks convey great character and complexity, it's best to experience its ambient soundscapes and strapping guitars with a full, uninterrupted listen.

TEEN still manage to come out strong and fully formed on their debut, with In Limbo proving to be the working man's take on dream pop.

Both cynical and biting, Nothing Feels Natural is a timely and involving call to arms that promises great things from Priests sooner rather than later.

They've just released their second very good album, Hera Ma Nono, and the collaboration is still positive and unforced.

Despite its sizable number of tracks, Quickies does move along at a brisk pace—even if its scattershot sequencing makes it better to digest as the five 7 inch-EPs presented in the physical version.

The soft-loud-soft dynamics she shuffles throughout provide a welcome songwriting variety, even if the softer side she tries to reason with doesn't convey as much excitement.