Interpol's third LP sounds more or less like the last two, and that's its biggest problem.

Balf Quarry, their first album for Drag City, isn’t going to put a halt to those Sonic Youth comparisons. They’ve steadfastly stuck with the sound created on the Boss album for most of this venture.

Even if they are more refined, they may still sound very much like what Blackshaw has given us before.

It's deeply dreamy pop, not unlike Beach House (with whom Lanterns share a UK label in Bella Union) or Mazzy Star, though their songwriting isn't quite up to snuff with either of those.

Though the quality on theFREEhoudini is extremely variable, fans of underground rap will likely find little to complain about, and even casual observers of the movement will be able to find several undeniably impressive songs.

If there's an item of ironic animal print clothing hanging in your closet or you know the difference between a porkpie and a derby, then chances are you'll find something to like about Hanni El Khatib's debut effort.

All of this is still quite gut-wrenching, yes, but I find Caught in the Trees to be better when it explores other themes.

We get to peer deep into McCombs's mind, but with the benefit of coming up for air once the record ends.

Truly, the heavy strings and pasteurization O'Brien has effected on the last few Springsteen albums--"The Rising," "Devil's & Dust," and now Magic, the Boss's reported return to form with the amorphous E-Street Band--has robbed Springsteen of his still-youthful energy and blue-collar credentials, something that has always been key to the believability of his sometimes overly corny manner.

By the end of the album, most of the momentum is gone, and closer "My Forevers" is really just "The Return of When I Was Twenty Nine" but sampled with the melody from "Scissors," which means that there's really only eight (and a half?) songs with good, original content.

It's these odd melanges that clench together into perfect hooks that make Ministry of Love as promising as it is.

With NY's Finest, Pete Rock, whose place in hip-hop is alread firmly cememted alongside masters like Premier, may not go beyond expectations, but he certainly meets them comfortably.

Squarepusher's wide range is bound to disappoint some listeners.

They tend to stay in their most comfortable wheelhouse -- bluesy roots rock -- but, as before, their incredible vocal harmonies carry the day.

The songs on Illusion are detailed on the whole, but remain lightly so in other aspects.

Listening to his simple melodies, uncomplicated structures and often disinterested vocals, the cool with which Jay approaches Slow Dance is unmistakable, and it is largely the single element that carries the album.

Obsession with detail is one of the most appealing qualities of his work, but it's also one of the most frustrating. Echo Party bears this out in painstaking detail.

Unfortunately, despite White Wires' earnestness, likability, and knack for hooks, WWII is an album that is threatened to be overshadowed not just by albums from all over the musical spectrum, but also by other albums on Dirtnap itself.

Rock tropes work well for them. They shouldn't be afraid to embrace that in perpetuity.

Popular Songs finds the band crafting solid indie rock that is more by-the-numbers than Yo La Tengo has been in the past.

It may all cohere together, but it doesn't all work.

The album is so cleanly produced that it sounds like they can't afford a flaw. And ironically, it's this seeming aversion to being perceived as imperfect that holds them back.

With their third album, Entertainment, they succeed best whenever they are warming up their familiar electro sound with pop elements rather than aping worldly sophistication.

In the Vines--like Raposa and his self-proclaimed "bad year"--is something rare and curious only if you’re willing to wander through the rough patches here and there and accept a subtle discord along with the harmony.

Song of the Pearl marks a nice transition for these guys, but it ends up sounding like it could have been more.

For those who maintain that vocals are the most superficial element of pop music however, Scars on Broadway will be a surprise treat.

Don't expect any club bangers or hot remixes. But the exciting part is that, in Silver, it's starting to look like we might have a true composer on our hands.

The blindingly sunny Endless Flowers is an album appropriate for the beginning of the summer, all popsicles, poppy beats and poolside parties coalescing into warm nights