Occasionally, you encounter an album that you know will grow with time. Fomo seems to fall into that category. It is immediately memorable, catchy, et al, but each additional listen increases the enjoyment levels from start to finish. It's probably very difficult to step out from your father's shadow when you're in the same business, but I can't imagine anyone saying that this isn't an incredibly strong piece of work on its own merits. I am a total sucker for his voice - particularly the way he so effectively layers them. Highly recommended.

Love it when a band makes a slow progression through various styles and sounds without losing their original charm. While the energy and enthusiasm of the first records is definitely still present here, it's a lot less manic and frantic. The underlying '70s rock vibe still persists ever so subtly, but it's more breezy this go around. In the end, it's proof that quality rock records can still exist. Oh, and it's got a flute solo that actually works - who knew that was even possible?

If Pete and The Pirates had a different (better) band name, they would likely get a ton more credit for writing the phenomenal songs that they do. I adored their first record and was highly skeptical that they could keep the same balance of energetic rock songs soaked with a wash of melancholy but, much to my pleasant surprise, they absolutely did. The guitars are big, the lyrics are clever, the songs memorable - everything a good Rock Song should be.

I really have no clue what to make of this. It's aggressive, it's dark, it's part rock, part electronic, it's anthemic and equally experimental. It blends all these things well, but it's still a fairly crazy listening experience. It doesn't seem to be catchy in the traditional way, but it's certainly got some engaging, fist-pumping moments.

The first album of Menomena remains my favorite era of the band. It had a bit more of a rocking edge to it and the production was a bit crappier than it is now, a perfect fit for what they were doing. While I understand these songs were cut for a reason - and rightfully so, the album wouldn't have worked as well with them - they still fill that part of my aural brain that loves their production values. Definitely a Must Procure for the Menomena completionist.

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.