Initially, the album seems to lack focus, save a steady burn of fury. But the anarchy's in the lack of cohesion, opening with the hand-clapping force of "Burn a Miracle" and progressing manically toward the melodic woe of "Peace Out".

Pleasant enough, and skillful, but all too familiar.

The tracks are re-released here, along with some extras, and mostly betray a songwriter still finding his own voice.

The sound is as swoon-inducing as it is complex. A brilliant debut full-length.

One of the more interesting rock albums in recent memory.

It may be just another platter of product from this Richmond, Virginia, crew, fit for mosh pit incitements, but it's also a harrowing and hypnotic package of wound-up, meticulously arranged aggro-bombs by a veteran team of low-end hatemongers.

Whereas some attempts to hybridize indie rock and electronic music are forced or awkward, Miike Snow gets its right by paying as much attention to their uncluttered celestial melodies as they do to their beats.

For all its robust, pristinely recorded eclecticism, Rhine Gold holds together beautifully, thanks to Makrigiannis's angelic tenor, which soothes and stirs in equal measure.

Rot Gut, Domestic never sugarcoats its uglier tendencies, and yet the uncompromising--and uncomfortable--nature of the music is oddly compelling.

Reissued last year, the debut Icky Mettle had their most celebrated pop songs ("Web in Front," "Wrong," "Plumb Line") but the follow-up Vee Vee was just as great, and thicker.

Mixed Emotions is a shiny bear-hug of an album--sometimes short on fresh ideas, but never lacking in heart.

It's arguably Mercer's and the Shins' most satisfying achievement.

The bulk of Roses is like a spring day in the first week of May - not exactly shocking, but sunny and warm.

A lovely, thoughtful album.

Zoo is a fine tribute to [often-compared band]Wire's heavier side, alternating between powerful, lumbering riffs and manic splatters of guitar noise.

Giving us a taste of what this genre [shoegaze]could encompass with a modernized touch.

One Second of Love is artfully crafted.

Rad Times is a towering paean to a time that never was, when too much was never enough, and a three-minute song could gloriously last forever.

Although there's still a menacing pulse to be found, anything constituting traditional dubstep is largely forgone.

His inaugural gathering of bona-fide solo work summons an aura of full-blown tranquility.

The disc largely lacks the memorable song- writing Merritt is known for, and that deficit is only compounded by the misguided production.

It's exactly the kind of album one imagines Bird could whip up on a lazy Sunday afternoon after a cat-nap.

This showcases Stewart's proclivity for macabre imagery and borderline perversion waging war with his pop-songwriting expertise.

This might not be the experimental genre-crossing venture the duo set out to accomplish, but it is a slideshow of timeless pop songs.

Give You the Ghost is only as transfixing as its singer.

Reign of Terror is way awesomer [than Treats].

Gemini's theater-rock is no pain to listen to, but true drama queens will want to get their fix elsewhere.

They are a hell of a band if you're looking for catchy rock with occasional sparks of brilliance.