There was a time in my life that I would have said that acts fronted by women did not appeal to me. I know that sounds sexist or short-sighted or whatever -- but, it's not. I know they are every bit as capable of making great music, it just rarely strikes me in the same way. However, Wye Oak proves that I've emerged from that cave of thinking. This album absolutely could not be achieved with the same effectiveness if the vocals were male. There's a nice restraint to the album -- even when it's forceful, it's holding back perfectly. Recommended for anyone that likes Beach House but always wanted a little more punch.

I think I have listened to this three times. That, in and of itself, should be enough of a review. I'm not really compelled by it or drawn in by much of it. I think it's a solid release and will please the Animal Collective diehards. I can't even say it's all that different from Person Pitch (on the surface), but I just haven't been engrossed by it yet. Blame it on Internet overload, or overhype, or maybe it just met my expectations too perfectly. Or, maybe I just need to spend more time with it.

Man Man is one of those bands that may offer up too much of a good thing. I love their 2006 Six Demon Bag and, for whatever reason, glossed over the follow-up. Both were filled with crazy sea-shanties and the same ridiculous energy, but I loved one and not the other. Life Fantastic is much the same; great variety of instrumentation, a pirate undertone throughout and a general craze to the album. A mad man's ranting through song. Maybe I just like every other Man Man album and this is the proof to the rule.

The Grizzly Bear/Daniel Rossen comparison is probably entirely unfair to this band who have created two perfect EPs full of forelorn pop songs, but it can't be avoided. He really does sound just like Rossen (at least, the way your brain remembers Rossen sounding if you haven't listened to Grizzly Bear in awhile). So, it's unfair, but it's a helluva comparison to have in your pocket -- flattering and deserved.

Every release from this band seems to differ just a little bit from the prior. A bit more accessible, a bit more upfront about itself. However, they manage to maintain the weirdness, the great keyboard sounds and the ability to zone out into realms of space throughout.

I have three other DeVotchKa albums. Aside from their awkward capitalization, I've always enjoyed it. I am told that this new record is a bit of a departure for them -- a more accessible sound for a wider audience. Personally, it sounds like same ol' Devotchka to me. However, don't take that as a slight! Their fusion of world influences, folk music and a dash of rock hasn't worn out its welcome and I enjoy hearing it every time.

I think this band probably gets pigeonholed into being quirky, country-fueled music from three rambunctious girls (and a quality drummer), but, honestly, it's just a bunch of great rock songs. There may be a country twinge here and there, but it's a rock record. I love that, lyrically, it comes from an empowered female angle -- not something you hear too often -- but it's not off-putting. It's fun, it's catchy and it's the kind of thing I'd like to hear more bands doing -- writing solid songs.

Much like the first Generationals record, this is going to have to grow on me. I slept on the first one for awhile but came around to it. The vibe from the first record remains, so there's no reason not to equally enjoy this one. They seem to have stepped away from some of the more obvious doo-wop influences, but it's still solid. I have yet to discover the real JAM on the record (see: "When They Fight, They Fight" from the first record) but there's goodness here. Just keep listening.

This is how far behind I am in my music reviews...just now reviewing this album. Pretty much all of my friends expressed a lot of disappointment in this record and I don't get it. Granted, it's not as good as their first or second albums but, taken on its own, it has some great moments. The band is certainly capable of better, but I like it -- maybe not an essential item for the record collection, but enjoyment comes from listening.

Oddly, in the context of the film, these songs can be a little distracting because they are so lyrically heavy and up-front. However, outside of the film they serve as a great reminder of the overall tone. I'm not going to say it couldn't be played during any melancholy scene of your favorite indie movie of the past ten years, but that doesn't mean it's not good. Reminds me of quiet summer nights just staring out, lost in your brain.

Of the three post-Creeper Lagoon releases from Ian Sefchick, this is easily my favorite of the bunch. This is odd as these songs are considered b-sides, demos and older songs. It probably doesn't hurt that a few of the songs were floating around during the Creeper Lagoon heyday and, thus, evoke many of the things I loved about that band. Long story short, for the price, you should enjoy these little indie pop diddies... even if they are "incomplete." [ghostbaby.bandcamp.com]

This was released back in January and I've been listening to it through the past few cold months and it's infuriating. The music within these sixteen songs embody summer entirely. There's something very breezy and beachy about it (though not, at all, in that indie Pitchfork band kind of way). This is backdrop music for sitting by a pool, an ocean or body of water of your choice. I will go ahead and promise this will be listened to with regularity through August without a second thought. [monsterrally.bandcamp.com]

New Autolux music without a multi-year gap between releases? I'll take it. If you're a completionist you, obviously, must get this. The remixes are interesting but, on the whole, it's about the two included b-sides. "Census" is what I'd file under classic Autolux. [www.autolux.net]

I'll be honest, I have procured this record through questionable means. It's not that I didn't think I'd love it, but it wasn't out yet and I couldn't stop myself from hearing it immediately. As soon as the vinyl is released in May, I will purchase it and wear the grooves out. Much like the previous album, Gruff reminds me of Beck -- a fusion of so many things at once but never alarming and always wrapped in a perfect pop song presentation. Sadly, I doubt this will get the recognition it deserves, but I implore anyone who reads this to get the album. Legally. [www.gruffrhys.com]

The Dodos never deviate too far from the sound you expect of them. However, that sound is unique and easily the most sublime balance of pop music and a heavy sullen undertone. Additionally, the integration of Neko Case is perfect and a welcome addition -- despite some trepidation from the masses about her usage. [www.dodosmusic.net]

I hope I'm wrong on this, but Telekinesis seems like one of those bands that doesn't get the recognition they deserve. Their whole sound rides the perfect balance between melancholy and upbeat pop. I am a sucker for this combination; especially when done this well. I often get bummed out on the state of indie rock and what bands get showcased by the likes of Pitchfork and the blogosphere. So, it's nice to see a legit pop-rock band like this plowing through and making another incredibly solid release. [telekinesismusic.com]

Wearing your influences on your sleeve can be a tricky game to play. Go too far and you're just a derivative mess. Try and re-invent the wheel and listeners just want the original style. Smith Westerns seem to have found the balance of the two. The songs are original, punchy and fun to listen to, but you can certainly tell what these guys grew up listening to. '60s goodness abound, piped through love-sick pop songs. I'm into it. [www.myspace.com]

Mogwai will never re-invent their own wheel. They've got a style and sound that they embrace wholeheartedly and I wouldn't want it any other way. They do the post-rock, quiet-to-loud thing better than anyone else in my opinion. I'm a big fan of when they allow their loud moments to get very loud (i.e., "Glasgow Mega-Snake"), but they never cut quite that loose on this one. It's a solid, quality, enjoyable Mogwai release, but I do wish for just a little more of an onslaught somewhere in there. [www.mogwai.co.uk]

I am totally baffled by why people lose their minds over Radiohead. This album is, as far as I can tell, yet another release of the exact same style that they've been doing for the past five records. For a band that is heralded as being so revolutionary with their sound they aren't exactly pushing themselves much further anymore. I guess I'm part of that snobby indie rock set that will always think OK Computer and The Bends are their best work. I am not a member of the Radiohead Cult and am really starting to wonder why anyone is. This album certainly isn't bad, but I feel like I've heard it many times over at this point; continuously rehashing familiar territory. [radiohead.com]

Right off the bat this has elements to it that remind me of Tim Fite, particularly in the vocal department. There's something snide and crackly going on that you'd think is off-putting, but it's quite engaging. The lead off track explodes into a huge chorus and guitar explosion — wild abandon, I like to call it. Good, solid, rock music has become such a rarity in my listenings these days and this is quite a refreshing excursion. [www.grouplovemusic.com]