Although the whole thing begins to make more sense after (many) repeat listens, the overall results are at best uneven, and at worst, absolutely baffling.

Throughout, Trail Of Dead make off like indie rock legends at the top of their game.

For all its minimalist musical approach and inherent gloominess, Is A Woman over time proves a creative masterstroke.

What is really so special about Gotham! is its infectiousness.

A gentle tremble of an album.

Unfortunately, talent alone doesn't always make a great record, and Howdy! lacks the excitement to put it in that category.

More in the vein of Built To Spill's Perfect From Now On than the latest Doves or Travis albums, Asleep is structured as an epic, almost prog-rock album that, once spun, reveals itself as a comfortable listen, containing a number of classic pop songwriting turns within its vastness.

Insignificance’s length of less than 40 minutes perhaps indicates that O’Rourke is not as serious about producing a pop opus as he is interested in getting a kick out of screwing around with pop song writing.

Sounds how Radiohead should sound live: brutal (the cacophonous sample layering in “Everything in its Right Place”), catchy (the bass line of “I Might Be Wrong”), danceable (the beats on “Idioteque”) and mesmerizing (the simplicity of “True Love Waits”).

It’s hard to imagine what the Plan could do to top Change, but one thing is for sure: growing up and looking forward has rarely sounded so universally satisfying.

A strong, cohesive and surprisingly soulful record.

Comparisons aside, though, the Strokes do cultivate a sound that's enough theirs to make me wonder what their second and third albums will sound like.

While not every song is a gem, the ones that are have pushed the band's already high standard of compelling indie pop one notch higher.

The record could quite possibly be one of the best of the year with a dash of self-control.

Un-inspirationality aside, Gorky's still exhibits glimmers of sonic uniqueness and loads of pop craftsmanship throughout the record.

Fridge seem to have a knack for making odd organic instruments fit tightly with electronic gurgles and glitches. But don't be fooled, ladies and gentlemen, their new long-player Happiness is a rock album through and through.

Twelve songs of quality, with an impeccable overall arrangement.

The majority of the new songs are keepers.

The Coast is Never Clear's shortcomings fall in Beulah's tendency to recycle the same song and name it something new.... Nonetheless, Beulah is still making some of the most infectious and smart pop songs anywhere in independent rock.

A major rebirth, relegating the chirpy melodies to expedients, relying less on Sadier's monotone singing, and reaching for new formats within the group's formidable compositional skills.

A beautiful, magical, mystical soundtrack; similar to Homogenic, but in a sense, more light-hearted and full of love.

It's not that the music is bad, per se, it's just not very interesting.

The White Stripes are a great rock and roll band, and White Blood Cells a suitable coming-out party.

Eclectic to the point of sounding confused.

The album has its share of enjoyable tunes, and more than a couple great ones.

It is hard to shake the feeling that these songs may actually be leftovers.

Agaetis Byrjun stands up in overall artistic merit to any record ever made.

For the first time in a long time, one can actually listen to David Gahan's lyrics. Indeed, on Exciter, he has rarely sounded less moronic.