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.

Cure fans are certainly used to Smith’s voice being high in the mix, but on this record it can be overwhelming and stifling.

If the fact that Albini seems to bury Falkous’ yelps behind too much dissonance bothers you, there’s plenty of joyous wreckage to revel in.

[Gilbert’s] chirping voice is such a spectacle at times, you won’t know whether to laugh or punch a hole in the wall.

The only disappointment is the fact that everything sounds a tad too familiar.

OnOffOn is the aural resurrection of a band that still matters.

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.

while the production’s sleek sheen holds tight reigns over any explosive guitars threatening to get out of hand, The Stills still manage to build up enough tension to hold your attention through good old fashioned songwriting.

I’m just astounded by how bad this album actually is.

For every badass mind-fuck like “Out Of The Races And Onto The Tracks”, there are twice as many unlistenable duds in the band’s arsenal.

Beneath all the off-kilter catchiness, quirkiness and aggression lies little of substance.

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

There are some good songs here, to be sure, but they’re wedged between too many meandering, indistinct retreads of self-referential bombast.

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

!!! fuses the Tom Tom Club’s frivolous white-boy syncopation with ESG’s polyrhythmic propulsion to make your brain feel informed while your feet work very hard to embarrass you.

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

The downside of Counterfeit2 is its uniformity.

Only vaguely hints at what the future holds, relying mostly on its tried and true formula of layered, epic rock and raw, pounding emotion.

Elephant is a startlingly dark and consistent record, incorporating frequencies never before heard on a White Stripes album.

This is arguably Idlewild’s finest hour.

The Blood Brothers pretty much have one speed: murder. This will tire even the most patient ears after about fifteen minutes, although, the album does show signs of expanded musical breadth with slower, albeit, brief melodic interludes and unconventional instrumentation (xylophones, toy pianos).

Every single song is an hummable masterpiece of pop experimentation.

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

Style definitely outweighs substance in the world of The Raveonettes.

So what’s the appeal? Sure, there’s a kitsch factor, and her fearlessness exhibits a respectful amount of bravado, I suppose. But none of that changes the fact that the music is insipid and boring, “sexually explicit lyrics” and all.

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

It’s far from the level of a Magnetic Fields release – or even The 6ths for that matter – and, therefore, won’t appeal to casual fans.

Spoon rebounds from the insurmountable challenge of following up the colossally brilliant Girls Can Tell with an equally impeccable album.