The overall air of the album would probably be more new-wave influenced trip-hop but Lock's sure and steady raga forges Rawar to a more funky-dub feel.

A fantastic record for Morrissey fans.

As far as songwriting goes, i follows the typical Magnetic Fields album standard of several great songs balanced with a couple unremarkable ones, with the rest being simply really good.

While Don't Climb on and Take the Holy Water is a nice change of pace and a pleasant excursion in the free-drone for an underrated guitar band, it lacks any real defining moments that would make it a more noteworthy and essential album.

Trial is as rhythmically acerbic and propulsive as the last couple of French Kicks offerings, but the pace is a little slower and more deliberate, the songwriting more cohesive, reflective, and mature.

While everyone else tries to steal from the greats, The Icarus Line have done an impressive job at continuing the great traditions in rock music.

Though C'mon Miracle doesn't have the truly standout songs that made Advisory Committee so great, it is still a consistent piece of work that delivers on quality songwriting and musicianship throughout.

The songs are lovely and placid enough to soothe the stressed and unnerved listener, but evocative enough to instill a disconcertingly curious sensation that lingers in a blissfully unfettered fashion.

Anyone who can sit down in such a short period of time and write this many unique songs has to have something abnormally genius working inside.

An amazing accomplishment and a pleasure to listen to.

Pleasant but unmoving.

There is very little experimentation on the album, at least in relation to previous albums, but there is also a wider spectrum of songs.

The beauty of the album rests in Loretta Lynn's exceptional songwriting.

Things immediately slow down on the second song and stay subdued throughout most of the album. Once I realized that the rest of the songs weren't going to be as blazing as "Seventeen Years," I was able to enjoy it much more.

A mandatory release for all Les Savy Fans, both serious and casual.

Unfortunately, The Pretty Toney Album falls short in replacing what Raekwon had contributed to Ghost's previous album releases, causing the album to feel essentially incomplete.

Almost Killed Me is the most authentic, dirty, and rocking album you'll hear all summer.

Listening to Faking the Books makes you feel utterly alone; and maybe that's the whole point.

I'd like to say Automato is an album worth slobbering over, but it's not.

Falls between Starsailor, Travis, Elbow, Alfie, etc, always raising the question: who are The Veils?

It is somewhat disappointing that they would play it so safe at this stage in their creative life.

An invigorating breath of fresh music.

It's All Around You middles about with infuriatingly placid tracks that suggest a fading band merely treading water.

Again is probably one of the most derivative albums I’ve ever heard. That’s not necessarily a bad thing, though.

Albums of this caliber just don't come around that often.

On Neighborhood Watch, their delivery is stale and unimpressive, much like the overproduced Expansion Team.

The guitar work is all painted in one color and changes are predictable, while the vocals are less adventurous and human than before.

Ultimately, what makes Good News so successful is that it retains the melancholy mood of past works, while at the same time adding depth and maturity.