Monáe's full-length debut is an Afrofuturistic concept album that continues the journey of her Metropolis EP alter ego, android Cyndi Mayweather, through a mind-blowing array of genres.

What the critics liked: In this ambitious, cinematic opus about "a cybergirl's struggle to love in the futuristic city of Metropolis," Monáe playfully leaps from cabaret to gospel to rap with a versatility that would make mentor/collaborator Big Boi's head spin.

What they didn't: Considering that it's one of the best-reviewed albums of the year, there are few detractors, but Prefix noted that "Monáe has crafted an album that freely borrows ideas without adding much to the process."

Producer FlyLo's electronica space opera includes guest spots by the likes of his cousin, Ravi Coltrane, and Radiohead's Thom Yorke.

What the critics liked: The laws of physics and music are both challenged in this quantum-like collage that encompasses dubstep, jazz, IDM, hip-hop, dance, and countless other genres; more than one critic has warned that it's not for casual listening.

What they didn't: Nothing. Reviewers wore out their superlatives when discussing this album.

Listen to "And the World Laughs with You (feat. Thom Yorke)":

The Brooklyn-via-Ohio quintet's latest album is even more confident than its predecessor, 2007's acclaimed Boxer.

What the critics liked: Dense production, anthemic melodies, and introspective vocals cast a gorgeous, melancholy spell that few listeners will be able to resist.

What they didn't: Hot Press “can’t get behind" Matt Berninger's distinctive voice.

It's rumored that this third album may be the last for DFA mastermind James Murphy's punk-electronica-dance project LCD Soundsystem.

What the critics liked: With impossibly catchy dance beats, pristine production, and the occasional wistful ballad, Murphy & friends prove that 40 is hipper than 30, if perhaps more melancholy.

What they didn't: Even hardcore LCD -loving critics conceded that self-reference can occasionally be more derivative than clever.

Listen to "Dance Yrself Clean":

Electronica enfants terribles Alice Glass and Ethan Kath tighten up their ferociously raw aesthetic for their second eponymous album.

What the critics liked: The Canadian duo continues to make atmospheric, synth-based glitch-punk you can dance, scream, and freak to while expanding their melodic and stylistic range.

What they didn't: The slicker production can dull weaker songs, making the album somewhat uneven.

Listen to "Celestica":

Armed with the formula "tinnitus and a hook," this London trio's debut speeds out of the park with mostly two-minute punk-pop masterpieces.

What the critics liked: The band's sheer exuberance and sincerity lend an edge to their pleasing, if somewhat derivative, noise-pop confections.

What they didn't: Rock Sound disparages them as "just another hipster band who got lucky."

Listen to "Franklin":

Dan Auerbach and Patrick Carney's minimalist blues rock gets a little spit-and-shine in The Black Keys' sixth full-length.

What the critics liked: The album is at its best with its garage-band combo of bluesy ballads and occasional sonic experimentation; überproducer Danger Mouse's influence on single "Tighten Up" will no doubt provide the band an influx of both new fans and needle-drop cash.

What they didn't: The album's 115 minutes go on too long, and the newer production polish isn't for everyone.

This seventh album by this Athens, GA experimental band consists of seven tracks that interconnect to form a single funereal whole.

What the critics liked: Critics agreed that the album was mournful, sad, doom-filled, gothic, downtrodden, gloomy, heartbreaking, "heavily depressing" (The Number of the Blog), and "deeply disturbing" (Popmatters)—but compellingly so.

What they didn't: Not much—Apparently, music critics are down with melancholy.

Mark E. Smith brings together what he calls The Fall's "best lineup" for the 34-year-old Manchester post-punk outfit's 28th album.

What the critics liked: Clocking in at just under an hour, this noisy and unapologetic album is a solid Fall effort, with Smith's surreal rants occasionally veering into the travails of an aging rocker.

What they didn't: A few critics seemed mildly disappointed by some of the tracks, but only in comparison to the rest of the record.

Listen to "Y.F.O.C./Slippy Floor":