While “Never Wanna Know” might divide, other moments are harder to dismiss.

Given the variety of approaches employed within, just about everyone scrolling through these 11 tracks should find an addled anthem easy to love... even as the album itself remains frustratingly difficult to like.

In presentation, GOAT makes wild psychedelic rock seem part of ancient human tradition and Commune comes across like an artifact of primal, bygone days.

His third solo album is a subdued sonic adventure compared to some of his more frenzied output.

Please Have a Seat is a testament to NNAMDÏ’s unconventional musical vision and how no matter what genre he wanders into—whether it be hip-hop, indie rock, electronica or bubblegum pop—he stays true to who he is. It’s also a wondrous adventure for anyone who is willing to hold on through its twists and turns. Most importantly, it represents the complexity Black artists possess.

After the peaks and valleys reached with the past two records, however, Circuital serves as a reminder that My Morning Jacket is back at the top of its game with an album residing just a tiny notch below its definitive records.

Even at its unruliest, Lady From Shanghai is gripping.

An artist well suited to take center stage, Ruthie Foster has more fully and forcibly arrived.

The trouble isn’t with Turner’s songwriting overall--Tape Deck Heart has more than its fair share of strong songs. The trouble is the absence of the sort of fist-pumping anthem that earned Turner so many fans to begin with.

Blessed with great songs, wonderful arrangements and vocal performances that seriously raise the bar in our expectations of what she's capable of, it is a record that shows real artistic growth in every area and is destined to become a classic that rivals Trailer Park and Central Reservation.

It’s 14 minutes shorter than its predecessor, and it’s light on the warbled, bursting electronics that defined Half-Light’s hazy tales of queer romance. It feels quiet and intimate even when it’s roaring.

Immunity has just enough unforgettable glimmers to justify Clairo’s buzz. The question is whether listeners who weren’t already head over heels for her previously released music will hop on board too.

It’s an album that acts as if simply existing was success enough. Yes, it is successful in this light, but it could have still tried to be more.

At once atmospheric, industrial and experimental, Ultimate Care II is kind of like Lou Reed’s Metal Machine Music had the old geezer from Freeport, N.Y. crafted it out of love instead of vitriol.

I’m Going Away is another absorbing mile on the Furnaces’ flight from indie-rock convention.

With 12 great new songs, each with its own spirit, style and direction, Ghost On Ghost is the best album in Iron & Wine’s already impressive discography.

It’s the rare album that manages to soothe and calm without burying its head in the sand--like a guided meditation through the reality of living in today’s world.

With the familiar bounce and sardonic lyrics--and the development of the band's capabilities to produce tamer, deeper, more mellow fare--it's been worth the wait.

Deerhoof has forged yet another delightfully odd pop gem, multifaceted and sparkling with creativity. [Oct/Nov 2005, p.147]

Every instrument can be heard and enjoyed throughout, giving the album a sense of authenticity and modern relevance. At the same time, though, the lyrical weakness of Downtown Rockers feels like filler in itself.

A lean rock record [imbued] with import beyond the sting of the smart, seething tracks.

Relaxing as it may be, the album works best as vague metaphor, affording the listener room to infer, interpret and apply personal meaning, independent of any direction by Hartley.

Her voice is what stitches these songs together, though what is probably supposed to be evidence of her range often feels like she’s trying on musical costumes. The result is a lack of cohesion that turns Shake the Spirit into a series of genre exercises. They’re impressive for what they are, but there’s not enough depth to merit digging much below the surface.

One of the strengths of Dirty Radio was the amount of ground it covered stylistically from track to track, and the same can be said of Untamed Beast.

Wand’s many talents are given full plumage on Plum. It will be interesting to see in what directions the band surveys in future albums. For now, this is about as interesting a new rock record you could hope to listen to.

It's deliciously painful. [Aug/Sep 2005, p.111]

While the songs here aren’t as instantly stick-in-your-head catchy as much of The Hold Steady’s catalog, they have a subtler staying power of their own.

There are elements of yearning found on In Roses that, while well-intentioned and often spellbindingly beautiful, are lost in the grand scheme of the broad, willful instrumental experimentation between Barnes, cellist Kristen Drymala and vocalist Ieva Berberian.