"SaturdaysYouth" is Anthony Gonzalez' postcard to his teenage years. The fifth studio album from M83 has been built up for its more solid song structures and its production team, which includes Ken Thomas (Sigur Ros, Cocteau Twins) and Ewan Pearson (the Rapture, Ladytron). Well, M83 will never get quite to straightforward radio rock, though they come close a few times here. "SaturdaysYouth" is full of the nostalgia of the memory of the kind of big, bent-out-of-shape nights that you can have when 18, once in a while at 24, and almost never at 30. M83's shoegazey drones and layered synths are well suited to this kind of sepia-tinged memorializing. But these memories seem to be dulled somehow. The layered guitars and keyboards are significantly toned down vis-a-vis earlier M83 work, and there's none of the bite of "Before the Dawn Heals Us" or the upbeat drive of "Dead Cities, Red Seas & Lost Ghosts." Instead, there's a stronger "80s vibe through much of the new album, heard in the echoing drums, the New Order synths, and the whisper-over-crash shoegaze aesthetic. - Dan Raper

Pity poor Black Francis: all resurrected and nowhere to go. After spending over a decade repressed in the murky depths of Charles Thompson's psyche, having to watch his less manic alter-alter ego Frank Black explore things like traditional song forms and roots rock, the darkly creative persona was once again loosed on the world for the 2004 Pixies reunion. "Svn Fngrs" is more than just a battle with personal mythology. It's a fine album, with some of the most compelling music Charles Thompson has made under his many names. The meaningful, well-crafted lyrics and simple yet layered arrangements make each song a treasure trove of little pleasures, each begging to be dissected and interpreted. That it's only a seven song mini-album isn't a cause for disappointment. In fact it's somewhat refreshing after years of seemingly unceasing, unedited output from Frank Black. Here's hoping that Black Francis has found his place in a Pixie-less world, and that he's able to continue adding to his already heavy legend. - Michael Patrick Brady

Ike Reilly has been compared to Jack Kerouac, Philip Marlowe and Bob Dylan. Such comparisons are not only hyperbole; they're flat-out inaccurate, for Reilly is wholly original, occasionally to a fault. His songs are populated with drunks, lowlifes and screw-ups. And like the drifters and indigents he embodies, said songs are full of unexpected left turns, curveballs and offbeat asides, both musical and lyrical. "Poison the Hit Parade" is not about to convert the unconverted. A collection of demos, EP tracks and alternate versions, it's an odds-and-ends holdover for Reilly devotees eagerly awaiting his next official move. There doesn't seem to be a whole lot of rhyme or reason behind the song selection. There're too many omissions for this to be a makeshift best-of, and too few rarities to be a useful catch-up disc. The non-chronological running order minimizes Reilly's evolution as both a songwriter and vocalist. - Charles A. Hohman

Jacob Fred Jazz Odyssey create a carefully arranged blend of electronic and acoustic elements that stretches the idea of the jazz combo. The JFJO (as they are commonly known) are no strangers to experimentation, as they've sounded like anyone from Ornette Coleman to King Crimson on past albums and incarnations. On "Lil Tae Rides Again," keyboardist Brian Haas, bassist Reed Mathis and drummer Josh Raymer worked closely with electronic producer Tae Meyulks to create a new sound for the group, one that threatens to wean them from the jam-band scene with which they are associated. Mathis has stated that this album is highly influenced by Boards of Canada, Brian Eno and even indie-rock all-star Panda Bear. It's not difficult to hear elements of these artists permeating the album from the very first note, or drone, as it were. JFJO keep their foot in the jazz world by maintaining an improvisatory feel, as the compositions are created by Meyulks in part using chopped up performances. The melodies tend to be minimal elements of the songs, rather relying on soundscapes with multiple earworms occurring at once. - Erik Gundel