Although not an album of the year candidate or (unfortunately) likely an even noteworthy nod, Collett nonetheless delivers a fine collection of songs.

Just shy of a dozen songs, the ensemble of tracks on The Stand Ins is as rich and musically textured as any previous Okkervil River album

It’s weird, (but not annoyingly so), it’s catchy (but not annoyingly so), and it’s fresh (but not annoyingly so). Face the Truth is the work of a songwriter at his finest hour.

One must realize that this album was created to be fresh but not necessarily edgy. The difference means that the effort is intended to be highly enjoyable but not breakthrough material.

When you boil Real Gone down to its tracks, you’ll keep finding more reasons to love this man – more than anything, you can sense his easy grin.

It is the closest you’ll get to The Bends in 2005.

Although the new parts of their "new" album aren't the best, the band certainly deserves some praise and attention for the marathon of 2006. The Broken String will be noticed by at least a few people.

Yes, the album sounds beautiful - there's little doubt about that - but living solely on a good sound isn't enough.

Where Songs for the Deaf found the perfect middle ground between aggressive rocking licks and experimental flourishes, Lullabies falls to the experimental side.

Even though the album may be too erratic to cohere into anything thematic, its eccentricities do an excellent job of keeping it interesting.

A mostly brilliant, though occasionally lackluster, album.

The Life of the World to Come isn't exactly a head-nodding compendium to the Good Book as much as a shoulder-shrugging desire for surrender. For some, an album with such strong religious overtones may distance those disenchanted with the church.

Kaiser Chiefs manage find their footing early on and this success forgives them their meanderings later on the disc.

It's a brutal record that changes you the same way prison changes a man.

Though it has its strong and weak points, Trouble In Dreams will no doubt receive well-deserved commendation. As a whole, however, it is the result of a grand but imperfect design (which, as we all know, has merit of its own).

A disproportionate amount of the album's tracks sound like a commercialized knockoff of previous songs, past highlights revisited after a process of radio ready distillation.

If you are a long time fan of the Danielson Famile... Ships will not disappoint.

Viva Voce have always been musically intriguing and continue their winning streak with a diverse suite of songs that come together as a cohesive whole.

One coup this unexpectedly friendly record makes me miss is when my favorite records used to have a string of highlights as moments rather than memorable refrains.

While they are not afraid to bang the drums and rock out, Menomena keep the majority of this album behind a beautiful mask of complimentary melodies.

Carousel Waltz is an extremely personal album, sublimely disguised as a sweet bit of pop fluff.

This new bag of tricks is implemented with due subtlety that bolsters the charming simplicity qualities, while filling the tracks out and, cautiously, adding some curves.

Everything All The Time runs not only on imagination but on determination – the mix of the two is what makes it exceptional.

Is Is will especially appeal to fans who found "Show Your Bones" a little soft. On the other hand, this release should appeal to any and all Yeah Yeah Yeahs aficionados.

More Fish has a fishy flavor and smell but has little else resembling the hard-hitting potency of its mind numbing predecessor, Fishscale.

Meanderthals are a collaboration between Idjut Boys and Rune Linbaek, with a sound that is a bit of a fluffier than what we have traditionally come to expect from the Smalltown Supersound label roster. That fluffiness adds a fresh breeze to the otherwise unassuming mix of throwback downbeat and Scandinavian folk strumming.

The sequel is a graceful transition into more polished product with an emphasis on detail and melody-all while retaining the visceral screech of the debut.

While there's no immediate pop hit present a la "Feel Good Inc" or "Clint Eastwood" to get sucked into straight off, Albarn's ability to juggle his rotating ensemble cast and still spin a cohesive yarn for all of sixteen tracks remains something to behold.