The New Pornographers have never sounded more like a band than on Together, and it's one of the best records they've ever made.
Forgiveness Rock Record is less about the eccentric and more about a band that, 10 years on, seems to be coming into its own.
The size has always worked off the razor-sharp edges of the music, with Daniel Kessler's guitar leading the way. Interpol restores some of the shine, but the music still feels softer somehow, the cuts not as precise.
The Besnard Lakes roll out note after note, moment after moment, song after song that build in anticipation, spectacle, and beauty.
Somehow Murphy not only lives up to this self-imposed pressure, he revels in it. Each dip and twirl and change of pace clears the way for something even more exciting. It's roller coaster music.
While the lasting power of Treats past the warm weather months may be questionable, the duo is out to make hay while the sun shines with a high octane combination of combustible beats, finger snaps, cheerleader chants, beat machines, giddy screams, and unfiltered sass.
With Record Collection, Ronson proves that he can succeed without gimmicks. And in doing so, he reaches newfound heights.
High Violet is a fine album, a very, very solid effort that contains some marvelous storytelling and near perfect execution. There are no faults to speak of. But that electricity, that fly by the seat of your pants thrill is something that eludes The National.
The ArchAngel [sic] succeeds at being an album of strong songs that incorporate the theme, providing a satisfying whole without struggling to wring songs from its story.
Trying to put The Suburbs in historical context at this stage is difficult, but it evokes Sonic Youth's Daydream Nation in its evocation of political discontent coupled with sheer white noise outbursts.
The Age of Adz sonically recalls Enjoy Your Rabbit, where Stevens indulged in more electronics. In other words, neither sounds much like Illinois, with all of its sprightly tunes and exclamation points.