The "point," if there is such a thing with this kind of music, is that even during its most trepidatious or lonely nadirs, there is a beauty to experiencing love that overwhelms the heart. Windy & Carl seem to aim to replicate that overwhelming sensation through their music.

Despite its short length, Kindred provides as much of an experience as Untrue. And commendably, it's a different one.

There are moments where the album drags, and there's no one that's going to be declaring this a modern classic, but with this strong debut, Young Magic have cemented themselves as a band to watch in the coming years.

The result is an album that is still adrift at sea, unaware of the musical landscape around them.

The Caretaker certainly remains a fascinating and worthwhile project.

Overall, while Blondes' debut album isn't quite as dynamic as the EP, it still serves its purpose as a notable standout from the upstart duo.

On Sweet Sour, Band Of Skulls show themselves to be well equipped to keep the garage blues/rock flame alive.

While A Sleep & A Forgetting is a bold new statement for the band, the album occasionally treads on the mundane level, due to its similarly-orchestrated tracks.

There's much to cherish here, but this isn't a complete effort.

Tramp is simply her most fully-realized album yet, and that's all there is to it.

Mark Lanegan has accomplished something truly magnificent with Blues Funeral.

As a package on its own, Air's Le voyage dans la lune doesn't hit especially hard, but when paired with the historic film, they become a dreamy, fulfilling piece of entertainment and mystery.

Fans will be glad to accept this triplet and know that the creation of this style of music in his plans.

It has the potential to sidle next to records like Movements and We Are Monster as a genre classic, but it's just as assured to find a broader audience as well.

It gets repetitive after a while.

This new release does function better as a cohesive work, but oddly enough they seem to have restricted their musical vocabulary even further.

The only caveat to Themes is that its stark cohesion demands a single two hour sit-through to soak in the weight of its patient, holistic, slowly-unfolding approach.

Apart from the aptly titled "Film Credits," which, worthily, plays much like a ode to Max Richter, the music on the remainder of the album is left to unsatisfying and grey piano suites that don't sound destined for a more open setting nor benefit from the intimate setting of Arnalds' own living room.

There are good ideas scattered about on the record, but when you have to pass through several minutes of cacophonous effects and layers of sound, it can get a little exhausting.

The whole EP feels weightless and aloft as if we have a clear view of the blinding blue gap between its heights and depths.

Astronomy sounds like a healthy stroll down 90s Alternative Alley, and is as comforting as it is overly familiar; giving it a listen won't change your perspective on music, but it might make you pine for the good old days.

Barnes has definitely taken a step in right direction.

Be The Void matches guitarist Scott McMicken's clever lyrics, precise riffs, and quivery vocals to the rare glottal gift and intricate bass work of Toby Leaman in this jumble of freaky throwbacks, reflective ruminations, and spontaneous psychedelic bursts.

As out of place as the occasional vocals are, the production surrounding them is impressive enough to at least disregard the problems for the short-term.

Raekwon returns with material to please both generations of his fans.

It's an enjoyable album, and the playing is astoundingly good.

Unless you really enjoy music in commercials, you should avoid this disc.

Much like a good wine, the album mellows out and becomes better.