By turns goofy, intellectual, and non-sequitur lyrics are indecipherable without the lyric sheet, but the strangely alluring charm of songs like "The Skin of My Country Yellow Teeth" will have you clamoring for more.

An ambitious, sprawling string of songs.

The Hives’ propulsive, polyrhythmic outbursts are so packed with hooks and catchy choruses that you can’t help but overlook the schtick and give in to the raucous delight.

Give Up is pure, unadulterated dance pop from start to finish.

She’s clever and sharp with her lyrical daggers, and she’s frighteningly aware of the impact of her own voice.

The biggest problem with Hail to The Thief is its lack of surprise.

The smarmy lyrics are back in full force, but the music is so crisp, clean, and catchy that it hardly matters at all.

Don't be fooled by the constant references to other bands. While the foundation upon which Interpol is building, certainly is borrowed, its music is not a miming act.

Takk is sharper and more direct than anything the band has previously churned out, but that is not to say it’s by any means accessible by normal standards.

An album packed with as many irresistible hooks as Whenever You’re Ready deserves to be heard.

Albarn’s ability to slither arrogantly from genre to genre while maintaining his charm is truly remarkable.

Silkworm as classic rock? Yep, and it’s damn good, too.

This album is an extraordinary display of Oberst’s songwriting prowess. It’s obscenely ambitious and pretentious and ridiculous but unquestionably memorable and affecting.

We Love Life trades Pulp's characteristic risk-taking for smooth accessibility, which works a gray, rainy day magic over the proceedings.

Take away the insane lyrics, and you’ve still got music worth listening to. Granted, it sounds like Journey being raped by Ronnie James Dio, but you have to admit that’s intriguing.

Antics is a grower. It’s not as grandiose as its predecessor, but it still packs a lasting punch.

Not exactly radio friendly, The Woods explores sonic deconstruction a la Led Zeppelin and Jimi Hendrix instead of the preciously catchy indie pop hooks you’ve come to expect.

While Torino is most definitely not a Wedding Present album by any stretch of the imagination, it should win back some of the die-hard older fans that may have boycotted Cinerama at the onset.

It isn’t until you’ve given it your full attention that the album starts to reveal its true depth and worth with songs that stick and get under your skin and make you come back for more.

Think Tank is Blur’s most cerebral, wildly experimental album, ever.

It all unfurls more like a musical than an indie rock record, but don’t let the dissonance scare you away.

Despite the daunting Radiohead-colored cloud that hangs heavy over Muse, the band pushes the limits of its slick, pre-apocalyptic rock with a self-assured strut.

These songs will undoubtedly knock the wind out of you, but for every dynamic explosion or screeching wall of noise there’s a hook in tow.

So yes, it has that retro-futuristic edge, but what sets 604 apart is the distinct lack of kitsch.

For a guy that has so little to say with so few ways to say it, Trent Reznor has mastered the art of making what is old sound new again.

Luckily, the band doesn’t cave into the dance-punk trend without expanding upon its current ubiquity with skillful songwriting and risky avoidance of testosterone.

Maladroit is a welcome - halfway - return to form.

High Society expands upon the hurried schizophrenia of Schmersal’s previous band, Brainiac, elevating songwriting to the same level of experimental deconstruction to both the detriment and advancement of the band’s core sound.