The songs aren't always as good as one might hope, especially in comparison to The Mekons' peak period.

Once you fall for "Yellow," the rest of the album will kick in, and fast.

Pixel Revolt feels, at the end, like two EPs packaged together and passed off as a full-length. The justification could be made that the fierce, angry and frustrated responses to international armed conflict and girlfriends leaving are very much the same, though that would seem to be kind of a stretch.

An eclectic, highly promising debut.

It's simultaneously refreshing and amusing. And it rocks hard.

Their newfound versatility detracts somewhat from their own identity.

There are no real shocks or surprises on this album; instead a number of more understated delights come through.

Melding big, weary Fleetwood Mac-esque emotion to stretched-out arrangements, both electronic and folk, the Canadian singer/songwriter's power lies in his dedication to his own individuality.

In the midst of its 14 tracks, there are a couple that, if taken on their own, would qualify as throwaways. But the way the album should be heard, as a whole, each piece works with the others.

They do a good job of mixing humor and fun with their politics...

The Photo Album is evidence of a band that's maturing, slowing down and trying new things.

A slow-burn knockout.

As far as songs go, Barlow hasn't been this good in years.

Like so many great singles of the past, this is the sound of a good band getting great. Don't miss the moment.

If you thought Mooney Suzuki's Estrus debut, People Get Ready, rocked, Electric Sweat will blow you away.

While a nine-track, 30-minute-long album rarely begs for editing, what Timms has assembled here might have made better sense as an EP.

The songs on his latest, often about political ambivalence and soul-searching alienation, are still catchy as V.D. But they lack the fiery complexity of past efforts.

Research has led me to conclude that the correct, and possibly only, way to fully appreciate this album is at extremely high volume on a decent hi-fi whilst massively stoned out of your gourd.

His sound, gender-neutral swooning folk dressed in quirky analog jazz keyboards, would fit nicely on a mix tape alongside The Smiths and Nick Drake.

A strong return to form.

Despite dozens of listens, much of Whatever People Say congeals together like so much spent gravy, with only the clever couplets sticking out.

It doesn't have the edginess of the Kid's previous recordings, and cloaks its eclectic sense of play in tasteful, textured layers, but in so doing achieves a consistency that has previously been lacking.

Hot Hot Heat's compelling energy, original hooks and rhythms, and quirky, sometimes indiscernible lyrics combine to make Make Up the Breakdown one of the most energetic and enjoyable listens of the year.

Really, there are few surprises here, but there is a crucial one, which is that Continental gradually reveals itself to be a solidly constructed and rather strong collection.

When they play, they sound confident and sloppy. When they sing, they sound sincere and sarcastic. They crunch and slash like early punk, toy with country like The Mekons, and use chiming melodies like indie rock. And all fastened together by a combination of mockery and carelessness, they come out with something that could easily stand up against any of the favorite rock 'n' roll records you turn to for a good time.

All those instrumental colorings are clearer, and the individual qualities of the voices in their choir shine through even when they're all belting it out together.

Suggests a progression and a retreat at the same time.

It's not far from the sound that Yo La Tengo have made their own, especially in their more contemplative, less psychedelic moments...