While I am not one to fault Kilgour for slowing things down a little, an impatient listener might argue that Frozen Orange shows Kilgour's age in the same ways Yo La Tengo's Summer Sun belied theirs.

Radical Connector softens up the abrasive glitch techno and broken beats of 2001's Idiology to produce a more dance-friendly album, with their signature warped vocals taking on a house sheen and invading every track.

It is blatantly experimental, though most indie fans should find it at least mildly accessible.

A middle-of-the-road release that, because of the context of the band's end, is the most heartbreaking release of the year so far.

Definitely a worthwhile buy for those new to Engine Down and certainly must hold a place in any Engine Down fan's CD book, iPod, or whatever it may be.

The style hasn't changed, the lyrics haven't suffered, and the charm and charisma is still clearly evident.

By any other band's standards, Winchester Cathedral would qualify as a strong to very strong effort. However, the feel of sameness prevents the record from surpassing the sum of its parts.

Despite Beep Beep's shortcomings, they do get over on energy alone.

There's a ton of great music on this release, but Kinsella ultimately ruins the focus.

Yet another charming balance of winsome melody, subtle studio twinkle, frolicking rock, and tinges of country meshed against traditional song structures.

While it is simply impossible to duplicate the raw power and energy of [Vaudeville Villian], the newly resurrected Viktor proffers a tolerable continuation of his street hustle and ice-cold thuggery.

Somehow they straddle the line between fluff and absolutely essential hipness that few attempt, and even fewer succeed at.

A stunning solo debut.

Quixotic was one of the best albums [in] Europe last year and Anything will be one of the best here in 2004.

One Plus One is One sounds like an attempt to make a more serious statement, but with little substance invested in it. The result is Badly Drawn Boy's first boring album.

A masterwork that music fans will be listening to for some time in the future.

The only downfall to Sahara Hotnights evolutionary sound is its middle-of-the-road attributes.

The songs here are mindless, repetitive, and perfect for the dance floor.

Miss Machine simply crackles with stress; not stress over homework or girlfriends, but the kind of stress a bunch of semis put on a bridge.

They have clearly mastered their craft, and have begun to push it beyond its boundaries without betraying its punk ethic.

The Fiery Furnaces have made one of the most ambitious and, quite likely, one of the best records of 2004.

Despite longer tracks, this album is a more accessible work. The compositions are less fragmented, and the songwriting has also improved.

"It's Kickin' In" sounds like Linnell doing karaoke over a failed garage rock single, and most of the rest sounds like, well, Fountains of Wayne.

While Mars Volta distinguished its high-volume concept and freak-out-the-neighbors formula with its apocalyptic wails and catastrophic soundscapes, Sparta has developed a middle-of-the-road rock entity, seldom swaying away from its new and unimproved sound structure.

This is a much better effort than anything they've done in quite some time.

It Falls Apart is a mess of overproduction and features bland songwriting.

This is undoubtedly a stronger effort than Shadows Collide, and maybe that's due to [Frusciante's] ability to just let the music fly instead of attempting to overwork things.

Unlike the first three Wilco albums and even more than Yankee Hotel Foxtrot, A Ghost is Born requires careful listening.