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."

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.

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.

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.

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.