Weezer is back in 2008 with a decidedly strong identity crisis. On the "Red" album, Rivers Cuomo blends the classic Weezer form of chugging, quirky pop songs with new, more ambitious compositions. "Pork and Beans" shines as a memoir of the "Blue" album sound, while "Troublemaker" hits and quits with a youthful energy. But Weezer's increased ambitions eventually become too much, as a lack of focus on "The Greatest Man That Ever Lived" drowns the listener in a circus-like cluster of confusion and overwhelming dynamic switches. Too many times on "Red", the band finds itself creating a charismatic spunk and then wasting it with overproduction. The lyrics are simple and hopeful, but the highly polished guitars and complicated progressions bog down on the fun. At least Cuomo knows that sharing is caring, as Guitarist Brian Bell sings on the self-written gem "Thought I Knew," a tune that Cuomo could take a cue from in terms of the theory that "less is more." Weezer deserves credit for feeding their appetite for more grandiose music, but simplistic genius is what made Weezer influential to so many dorky delinquents in the mid-nineties. The "Red" album isn't overly bad or good, but perhaps Weezer's greatest struggle is dealing with the idea of knowing that their brightest diamond is behind them.

Review by: Drew Kincius

Around for over a decade now, the veterans of Liverpool’s very own Clinic have been around long enough to establish a sound that is distinctly theirs. But what makes their sound so distinct is that they never actually stick to just one—blending multiple genres, it happens to be mostly different with every album the band records, and this is fully evidenced on their recent release and fifth full-length, Do It! Still employing their classic dose of vintage keys, Clinic uses them this time to take a noticeably ‘60s-flavored romp in psychedelia and the dark sounds of blues rock. Fuzzy guitars and distorted vocals abound, giving the album its almost surreal sound that is perfect for sitting back and loosening up.

Review by Kelsey McArdle

After receiving positive shout-outs from the likes of Spin and Pitchfork following the success of their lo-fi debut masterpiece, Broom, the critical darlings of SSLYBY had big expectations to live up to with the release of their next album, especially after being picked up by the indie heavyweights at Polyvinyl Records. However, there’s no need to worry—Pershing, the band’s vehicle for proving their true studio chops, follows through as a sweet, soothing pop success. From beginning to end, the album is full of consistently great songs filled with a simple-yet-catchy swirl of acoustic and electric guitar melodies that provides a solid backbone to the ear-pleasing vocals that seem to effortlessly float above it. Driven by drums that will make your toes tap and chamber pop-style trumpets scattered throughout, Pershing is a genuinely great effort that will only induce smiles with every listen.

Review by Kelsey McArdle

Failing once again to produce anything less than another stellar album, the boys from the Rubber City return with their fifth release, Attack & Release. Signing on with producer Danger Mouse, the Akron two-piece provides 12 slightly polished songs of its beloved bluesy, garage rock that swelters under the soulful swagger of vocalist Dan Auerbach. Filled with a few of their driving, distortion-heavy signatures, as well as some slower, Southern-flavored romps, accented with plucking banjos and tinny piano, the album is expressive, expansive, and undoubtedly one of the band’s best efforts.

Review by Kelsey McArdle

Acting as a re-emergence for former famed New York scenester and musician Stewart Lupton (of Jonathan Fire*Eater, whose other former members went on to form the Walkmen), The Child Ballads stands to make over his troubled musical past and create something wonderful in the process. With this six-song EP, Lupton and crew dish out song after song of down-home, mostly acoustic-driven alt. country, most of which sounds like it would be at home both on a stage or around a campfire. Raucous yet relaxed, this EP sounds great all around.

Review by Kelsey McArdle

"Restraint" and "reserve" are two words that are simply not found in the vocabulary of the supercharged septet from Cardiff, Wales that comprises Los Campesinos! The lack of musical modesty, however, is nothing to be scorned. With a signature brand of aggressive tweepop, the band effortlessly juxtaposes punk rock's irreverence with the syrupy sweetness of indie rock. Both wordy and sharp, Hold On Now, Youngster is an album that spills cute-yet-caustic lyrics, showcasing the wonderful dynamics of its dual male/female vocalists. With obvious British, post-punk influence, all 12 tracks are guitar-heavy, yet spliced colorfully with upbeat keyboard riffs that will without a doubt distinguish Los Campesinos! as a fun and talented band, sure to sweep anyone off their feet.

Review by Kelsey McArdle

Classifying Evan Voytas on the musical spectrum is a difficult task. Combining his former jazz training and pop sensibilities gained from a prior gig as Teddy Geiger's touring lead guitarist with his love for '60s and '70s new age sounds, the multi-instrumentalist has created an album with a sound distinctly his own. Experimenting with various elements ranging from chimes and organs to guitars and Sgt. Pepper-esque horns, Voytas and his seven-song EP blend ear-pleasing sounds with sweet pop vocals that truly introduce this artist as one to watch for.

Review by Kelsey McArdle

Like some strange sound experiment that fused the brains and sound landscapes of Sigur Rós with the black heart and biting shred of a band like Daughters, Bristol, UK's Fuck Buttons bring to the table a distinct new sound that is as out there as it is loud. Street Horrrsing is a six-song disc filled with long, distortion-heavy drones that continuously spill together in one synth-heavy loop. Few unintelligible lyrics are yelped throughout, but they act more like ambient noise than vocal accompaniment. Although they may translate better and absolutely thrill as a live band, this album is still an interesting one to check out–but only if your ears are prepared for the madness.

Review by Kelsey McArdle

Acting as Bloomington’s own esteemed export, Murder By Death once again produces another album of its unique, biting brand of gothic-western rock. While a recent move to Vagrant Records brings a brighter production sheen, vocalist Adam Turla’s notoriously booming voice still cuts like a knife and spits a mean story, and the music, slightly more upbeat and beautifully accented by Sarah Balliet’s weeping cello strains, retains its epic elements of drama and depth that only this band can sincerely emote.

Review by Kelsey McArdle

Sounding as if they would feel at home as the hip lounge act at any modern-day, underground gin joint, the members of Massachusetts’ own White Hinterland come together to form a unique batch of jazz-stained tunes that are as breathtaking in their length as they are in their beauty. While their mellow, piano-driven brand of songwriting may not be severely dynamic, its subdued nature showcases an immense attention to detail, especially with the lovely addition of delicate string arrangements dotted throughout the entirety of the album.

Review by Kelsey McArdle