Rather than show true sympathy by exploring the nuance of even the superficially simplest lives, Bazan makes drearily deterministic morons out of his supposed objects of pathos.

The one thing you can't accuse Under the Blacklight of is being boring, but it abides by an either/or sort of mentality that presumes that a complete lack of substance is the only alternative to the kind of music Rilo Kiley and their pals made in 2002.

For all its surprises, Creature Comforts marks one of the first times Black Dice has sounded like a band in transition, and consequently lacks much of the serendipitous splendor of their previous efforts.

That these songs sound like mashups to my ear is both their strength and their weakness--they’re good enough to remind you of the best work of the parties at hand, but the term implies that you’re not going to hear anything new, just two songs mashed together.

The fascinating thing about Gwen Stefani’s record is not how different it sounds from No Doubt, but how similar it sounds to the producers that she works with and how their collaborations usually fall flat because of the rehashing of tired ideas and plodding predictability of her arrangements.

Broken Ear is limited and bogged down with its exacting and overriding sense of rhythm and lack of true sonic experimentation.

Those looking for the instant gratification of the first side of YFIIP--the “Almost Crimes”s, the “KC Accidental”s, the “Anthem”s--will be grossly disappointed. This is a collection for those of us who dug the album’s second side--meandering, experimental, but ultimately just as urgent and just as rewarding.

They ape New Order's "Movement," surely that combo's most static and dullest album. Dengler and rather good drummer Sam Fogarino don't get many chances to shine, letting guitarist Daniel Kessler create the kind of textures that often get mistaken for progress.

Carter’s an artist clearly capable of making a great album. The Story of My Life isn’t it, but it’s a start.

The album’s beauty lies largely in its simplicity, but so too does its weakness.

An entirely mediocre album that hints at a greatness that may lie beneath.

In its ambition, emotion, aggression and intelligence, Kick Up The Fire, And Let The Flames Break Loose is a work of sheer bloody genius.

If there’s a single quality that ties these songs together, it’s consistency of scope and sound.

Other than a few cliched song titles and lyrics (this is rock 'n' roll after all), Twilight of the Innocents actually demonstrates a refreshing maturity and breadth; sure it rocks, but never in a clumsy or callous manner.

A solid, atmospheric, singer-songwriter record.

A bit uneven.

Last Night sacrifices the unified statement of Someday for a more varied, deliriously fun lack of coherency.

Thankfully, the music overpowers DeLaughter’s weak voice.

So even if, like me, you find the lyrics and Elton John-style coda to “Superfool” annoying, you’ll probably also find yourself singing along; this is the sort of record whose vices, if you give it a chance, slowly become virtues.

An unpleasant change is clear in the first instant; Summers’ voice is pushed to the front of the mix, and the over-the-top choruses and limpid lyricism that comes through is enough to make you blush.

It's crisper and clearer, but simultaneously thicker and murkier than before. The album isn't just dense, it's bloated—in the very best sense of the word.

The songs are still long, the rhythms are still organic, and in general Isis still sounds like Isis.

There is very little on Operate that sounds like anywhere Gomez have been before.

Brett Anderson has always been the weakest link, so pointing out weak rhymes and the frequent unconvincing moments (she’s upstaged by the background vocals on the highlight “It’s So Hard”) seems cruel.

Unlike cLOUDDEAD, every track on Oaklandazulasylum is, at least musically, accessible and inviting.

Yeah, she’s sticking with the formula that got her going six years ago, but when it actually works, why bother messing with it?

The Kills' sludgy punk-blues doesn't contain many pop melodies or catchy choruses.

Nice enough melodies and average tunes are repeatedly elevated by the superlative, rich and detailed production which makes Delays sound like a much better band than they actually are.