Absolution is an emotional, philosophical, sophisticated, poetic, and beautiful piece of rock music.

An intriguing and mesmerizing compilation of songs that underscores any love you already had for Broken Social Scene.

More than one track goes on about how love will eventually get us to heaven and such, and the sickly, sugary sweetness of it all just leaves a bad taste in your mouth.

The whole affair has a grandiose, almost decadent feel to it, with its damaged beauty and elegance.

Murs fails to gain any ground regarding his approach to rhyming and lyrical ingenuity. Yet, Murs 3:16 is far superior to The End of the Beginning, due to the tight and refreshing skills of producer 9th Wonder.

Only about a third enjoyable.

Beam's voice is streamlined and a little too perfect for fans of his prior music who felt, with good reason, like Beam was serenading them from their living rooms.

A dizzying synergy of heavy brains and chemistry, culminating in blissfully fun, irreverent, and engaging brand of record-making magic.

The fact that Venice takes a few missteps before getting into full strut inevitably takes its toll on the overall body of work.

The mesmerizing quality they create through drone beats and varied vocals engage the listener in a whirlwind of noise, and it rarely ever lets up.

Many of the songs continue to showcase Stevens' avid and passionate banjo-plucking, accompanied by similar harmonized vocals that resonate with beauty and commitment.

It has a very laidback, late night, smoky loft vibe going on.

The album is most similar to Apple O', but while Apple O' seemed to have a somewhat lethargic quality, Milk Man sounds fresh and fully inviting. And it's a lot better.

The middle of the album is as hard-edged and relentless as anything of Squarepusher's, if not more.

If you're a fan of the rock and the roll and the denim and the Rolling Rock, then snatch this record up tout de suite.

For anyone who found themselves begging for more than five songs, you will be happy with this new album; the distance traveled from Young Liars is not so drastic as to alienate anyone.

Filled with quirky and inventive pop songs packed with sultry harmonies and an immense level of musical intuitiveness.

Two Way Monologue is an evident progression forward, but not forward enough. It is extremely similar to Faces Down and ultimately leads to disappointment.

Where the album stumbles is in its inconsistency, with some rather uninteresting filler that doesn't do much but flesh out the album.

When it Falls, while not a masterpiece, is a nice album which will likely appeal to a very broad fan base.

The music is great, but it's through his lyrics that Beans really heads out into the stratosphere.

If you get a kick out of The Fucking Champs riffing on Bach with "Air on a G String," you're on the road to Panda Park.

In the same way Radiohead took an impeccable album like OK Computer and stepped into unfamiliar territory with Kid A, Liars have sidestepped the majority of their familiar styles and broken free towards new explorations.

Coming in at over an hour in length, the album drags at times and begins to wear near the last part of the tracklisting.

Trans Am's Liberation is one of those rare albums that combine great musicianship, irony, sonic diversity, and originality. And to top it all off, the album rocks.

Kila Kila Kila contains numerous pristine sounds and rich textures that show subtle moments of ingenuity and progression.

During some of the more composed moments, the album manages to shine out in semi desolate wonder; but most of the time, Monsoon sounds too much like the Jonathan Richman two-piece band from There's Something About Mary to outrun the malaise of mediocrity that blankets it.

Fabulous Muscles contains some of the band's best songs since Knife Play.