The music is appallingly predictable, unoriginal, uninspiring, boring, over-polished, and vain.

College Dropout contains some of the most intelligent and clever lyrics hip-hop has produced in a while, be it mainstream or underground.

Although Ghost has an uncanny ability to pair their improvisational style with recognizable structures, there seems to be something missing in the overall design of this album.

The sheer ambition of it is staggering at times and you can't help feeling that Electrelane are on the right trajectory.

While Vanderslice's consummate production creates several indelible pieces of music, the stark repetition of John Darnielle's songs seems all the more apparent on his full-band numbers.

I'm not writing the Walkmen off just yet, but this is a genre that you can't afford to stay in one place and hope to keep an edge on the competition.

Peppered with dissatisfying, mommy-daddy emotastic lyrics, Jeff Tweedy impressions, and Four Tet-inspired, stop-on-a-dime, into-something-totally-unrelated segues that don't really belong on a country-twinged "let's hang out, drink, and make a record, dudes" kind of affair.

Dangermouse's actions have breathed creative life back into a 35-year-old record while inventing a completely new work of hip-hop art.

If you enjoy the ear-perkingly dense textures of friendlier experimental stuff like Four Tet and Fridge's Happiness LP, then you can't go wrong here.

In 37 minutes, there isn't a single moment when the music really hits with conviction.

While it may be the most unfamiliar work of Herren’s discography, it’s still one of the year’s first great albums.

An intriguing album that grows both more complex and more likeable with each listen.

In essence, it’s an improvisational nightmare that leaves you feeling extremely uncomfortable for an entire hour, while concurrently having you wish you could lie down to listen.

There is nothing new for the listener.

Boils with energy, excitement, and a passion to experiment.

These are eight rip-roaring, drag racing anthems mashed together with blood cakes and shards of bone.

This album has been done before and lacks the originality or quality of songwriting to merit repeated listens or set it apart from the scores of others playing this type of music.

Heron King Blues definitely signifies a transitional phase for the band.

It’s certainly a bit early to be throwing around "Album of the Year" type accolades, but Cellar Door is arguably the crown jewel in an already incredible body of work.

The delivery is too matter-of-fact, too genuine to evoke pity or sadness. It is lethargic, yet not dreary -- it grabs you violently and lays you down so, so gently.

They are unprepossessing in style, dainty and sweet in quality.

The songs are better than solid. They're catchier than catchy. These songs are just good.

With five songs, Jack establishes himself as a well-schooled artist in musical history and a fine performer with his traditional adaptations.

As a full-album, Love is Hell is a lovely, drug-induced contrast to the balls-out rockers on Rock n Roll, but Pt 2 is significantly weaker on its own.

Explosions In The Sky are the only instrumental post-rock band that matters, and The Earth Is Not A Cold Dead Place is proof.

A consistent, immediately catchy album that holds up after repeated listens.

De-Loused in the Comatorium is a very strong debut album for the Mars Volta.

This is one of the albums of the year: completely out of left field and completely solid from start to finish.