Employment feels more like a patchwork collage of past Brit-rock stardom... than a fully-formed statement of their own. But maybe that's missing the point. When a band has this much fun and crackles with this much energy, you don't ask questions.

There's a professional, assured feeling [to] it, but its nagging lack of innovation or [a] truly memorable melody leaves me a little cold.

Exquisite Corpse's saving grace is that there is enough variety to its ensemble of guest performers to keep the listener somewhat interested.

While the Evens' sparse arrangements may lead the guitar-playing world to finally give drummers their due, an album that is too minimal runs the risk of being absorbed in too few listens, never to be returned to again. Of course, The Evens avoid that trap by going straight to the most obvious musical cliché, "excellent songwriting."

Blue Eyed inarguably sets Hollon as one of the finest artists in electronica today, and it would be a shame if you were to miss out on this release.

One criticism of The Kills is that their stance can feel like a bit of a pose; sometimes it feels like there's a hole where the soul should be. The tracks can also sound a tad too similar.

This is one lush, warm bit of earcandy that will not let you down.

It's pretty much all the same synth leads, bang-bang beats, and tired rhymes as every other Aftermath related project since The Eminem Show, which wasn't that great either.

The listener is unfulfilled at the album's end. We learn nothing new about Sole, who's the only character on the album.... There's nothing to grip on to. All the lyrics are observations twisted into weak witticisms.

While this is drastically experimental by their standards, there is nothing here you haven't heard done infinitely better many times before.

Absolutely the least offensive record you will probably not hear this year.

The hit and miss nature of Transistor Radio makes it seem more like a compilation of songs rather than a cohesive album. But in the end, the album is a winner simply due to Ward's unique voice and talent as a songwriter.

The faithful will be rewarded with this immaculately recorded set of live versions, while the release could provide a solid introduction to those who've yet to discover the virtues of having heavy, emotional music that still manages to let you fill in the blanks.

Feathers is a thousand times more focused and mature than [Shivering King], and it's all for the better.

While LCD Soundsystem is grounded in the past, quality and talent make it an album deserving to be listened to for years to come. Talk to me in a few months, but I think this one won't be beat.

Take Fountain... does little to expand on the formulaic offerings their followers have released. Instead, the album risks running itself into a dead end it creates, all on its own.

Beautifully crafted, complex music which intrigues and begs for another listen.

Instantly enjoyable.

Distrust is crucial not only as the resurrection of the passion and soul of hip-hop in the face of the overwhelming monetary success of pop-hop, but as a vital questioning of feudal policy, raising awareness, and sounding good doing it.

An incredibly compelling collection of inventive folk-tinged melodies.

If anything, this album is best compared to the aesthetic of hip-hop, where allusions to universality and transcendence are simply non-existent, and what we are left with is content that will be dated within months.

Harcourt's piano proficiency separates him artistically from guitarists who tinker with mere chord-banging to accompany lyrics. There are a few misshapen puzzle pieces on this one, though.

Whereas Antony and The Johnsons was a stark, chilling affair that was arresting and perhaps a little disconcerting, this album is a shining beacon of hope and healing amidst ceaseless pangs of heartache and loss.

Happiness In Magazines is one of the best garage rock hybrids to have been released since The Strokes hit it big.

All these flowery production choices can at times be quite seductive, despite the glaring mishandling of the vocals astride them.

Digital Ash in a Digital Urn is a weepy response to the Postal Service.

The theatrical tricks -- and they are tricks -- are more interesting this time around. But by and large, it's more of the same.

When all's said and done, too much of the album sounds dated and uninspired.