Minor quibbles are easy to overlook on a record that is, the majority of the time, flawlessly executed.

While I wish that Only in Dreams offered more adventurous songwriting or a more varied sound, it's still an achievement in its emotional tenacity.

On the Water is too uncompromising, too disinterested in being for anyone outside of its circle of two.

What follows are a series of maybe-serious experiments that aren't much fun.

With Get Lost, McGuire has nudged toward both goals, and while in many ways, for long time fans, this is exactly what you'd expect a 2011 Mark McGuire album to sound like.

It is as "original" as this band is going to get, and for that we should be contented.

Ashes & Fire might mark the first time he could ever been described as simply dull.

Enough Thunder certainly offers up enough for any Blake fan to both love and hate--and at the end of the day still be entirely unsure of exactly what to hope for.

When it's warm it offers a cool side, the underside of one's pillow, and when it's frosty it offers a coverlet of weight or the stable resting of a hand.

The results are occasionally--surprisingly, even--very nice.

The Imaginary Adventures of Pardon, Mannerfelt, and Co. just happen to be a wonderfully suitable and measured vehicle for the dense and compelling work of Roll the Dice, and In Dust is sure not to leave anyone wanting for a more promising wilderness to explore.

Life Sux is no King of the Beach; if anything it's a minor diversion on which Williams seems to be toying with the idea of slowly toeing into maturity.

Somehow Portamento is snuggled amidst St. Vincent and Braids and Tim Hecker and Colin Stetson on my year-end list.

It's an album both in tune lyrically and out of time stylistically, and that's what has All Things Will Unwind approaching relevance.

Tweedy's lyrics have recaptured much of their surreal, grammar-defying, sinister charm, and he has mercifully spared us the smug, privileged nihilism that Clayton so rightly lambasted in his review of Wilco (The Album).

Looping State of Mind both conquers and surpasses the only-so-many-pieces-in-the-box standards of most traditional dance forms by appeasing those crescendo/break/denouement expectations in name only.

Loney, Dear hasn't changed much, and that's what makes this inimitable album such great company.

Though these variations are often enjoyable, particularly on an individual track level, taken as a whole they're just too slight, making Civilian difficult to fully engage with.

As seventeen-track records go, it's edible, and should qualify him for another wave of buzz when the Mercurys come round next year.

It is a more mature record.

An Argument with Myself seems like more of an attempt at an encapsulation of Lekman's talent--to use the smallest things as gateways into work more ponderous but still relatable, achingly pretty but still occasionally biting, adventurous but familiar--than a showcase of new directions.

New axe-slinger or not, I'm With You is a given for this band--at least four songs too long and Rick Rubin's nonchalance leaves everything sounding precisely and consistently the same.

These guys have the tools, and God knows they have the chops, but Thundercat has yet to develop a compelling sound of his own, and no amount of production wizardry can ultimately disguise that.

Nothing on Thursday sounds like filler.

Pleasure essentially satisfies, even if I have to admit that it's hard not to feel absolutely, completely, and totally lied to by virtually everything about Pure X that isn't their music.

Fourteen tracks may seem slight for someone with that kind of longevity and creative drive, but if it means we get a listenable, often times surprising collection as opposed to a bloated vault dump, then I'll take this over something more "complete" any day.

Wild Flag is concise but jumpy, perhaps a party record in that sense.

Strange Mercy is Clark's most tense, nauseous, kaleidoscopic album yet.