While the beats and programming are done well, much of it simply seems like slight variations on tracks that he's already done.

While it's all produced and performed immaculately, it just feels like too many of the rough edges have been smoothed off.

C'Mon Let's Pretend overall is a passable album, but the riffs just aren't nearly as catchy, and the group doesn't quite seem to have a command on their sound yet.

It's a little cheesier than the average trance album, but will probably appeal to some of those who enjoy Paul Van Dyk or even ATB

The Snare works well at moments and at other times feels like a rather tepid trip-hop release from a band still developing their sound.

It's definitely about as disjointed as they come, and while that loose style seems to invigorate some tracks, it makes for a release that's downright hard to listen to in places.

Discombobulated and downright clunky, Made In The Dark is a bit of a step back for Hot Chip.

While the group are certainly impressive in performance, they can't break free from an almost mechanical feel that lingers and really holds the album back.

I don't fault them for trying some new things, but the results are mixed at best.

Goodbye has a tendency to blur together in many places during the course of ten tracks and just under an hour in running length. If you like his past work, you might want to check this one out, but others will probably want to take a pass.

A varied and interesting album that is also a bit hit-or-miss.

In some ways, the release is validated almost completely by the inclusion of a bonus disc that includes all previous singles from LCD Soundsystem, most of which feel more thought-out and slamming than much of what resides on the album itself.

One of the problems with the album is that after the super-solid beginning the second half or so of the album just doesn't compare.

It's a bit harsh of me to say that there's nothing interesting going on in Player, Player because that's certainly not the case. Instead, the problem seems to be with contructing the songs themselves.

Donkey is about what one might expect from the group for a second album. Those who liked their rough edges the first time around might find themselves a bit disappointed by the new sheen, but they'll likely gain more fans they they lose.

It's sort of a bi-polar album of sorts, as it probably could have been cut down a lot in length and made into a concise gem of an album, but then you'd lose the odd atmosphere of the rest (which will either drive you nuts or space you out).

The first album from the group that feels downright tedious to me in places, as well as the first one that feels like they're spinning their wheels a bit.

If you've listened to any amount of industrial music at all, chances are that you've already heard about every variation of mid-tempo, snarling track, and unfortunately several of those make an appearence on this disc as well.

Midnite Vultues kind of sounds like an album Prince would have made if he were more interested in being a geek than carressing his own ego.

In the end, it just feels like Elephant is the culmination of the group trying to please absolutely everyone and it instead feels like sort of a mess.

Leave Your Name is 11 tracks and only 28 minutes long, about half of which feels like noodling.

If I didn't know better, I'd say that the duo was jumping on the electro (the trend that keeps on giving) bandwagon, but there are songs on the disc (like the album-titled "Black Cherry") that suggest more of a logical progression in sound, mixing the more breathy sounds of old with a touch of the more electronic-infected sounds of the new release.

It's kind of a whopper to digest all at once, but if you've heard Momus before and liked him, you're not going to go wrong here.

There are still some fine moments here, but there's more chaff than usual.

They definitely have some hummable hooks, and at moments the album feels like it's going to shake off the reigns of running the middle-ground, but just about the time you think things are going to bust loose like a rocking Monk and Cantella track, they swerve back into more agreeable sounds.

Radio-friendly pop music that sometimes sounds like Garbage, and other times even more playful.

For fans who are obsessed with seeking out everything Animal Collective, Black Dice, and experimental noise related, it's a fine bet, but for others this is going to rub the wrong way, which I suppose is part of the point.

Although there are some moments of greatness on the disc, it feels more like a cathartic vent-session than a well thought-out release.