Some references to proper nouns come across as either misplaced or forced, and the set could do with fewer strained fairground-rock choruses. These shortcomings are nonetheless too rare and slight to prevent The Autobiography from being a remarkable first album.

[Cuomo's] eccentricities slip out from the cracks in his carefully constructed songs. Sinclair wisely decides to accentuate all these quirks, whether they derive from Cuomo or the band's interplay, so The White Album crackles underneath its tight presentation.

Inheritance sounds like a born-again Avett Brothers fronted by a tamer Daniel Smith (Danielson Famile), and while its homespun, home-schooled theatricality may be a bit off-putting for some, it's hard to not admire its uncalculated exuberance.

Both Lights isn't always completely on the money.

It's actually Thomas' gift for indelible melody--the album title-referencing chorus of "Break In," for example--that will keep the listener coming back.

With an all-star cast like this, it's not surprising that Cloak and Cipher is beautifully played and layered. However, too often it feels like the album's overall sound comes at the price of distinctive songs.

Her earnestness is nearly as appealing as her prettiness, a quality apparent in both her voice and her surroundings.

When White hits the target--and he does so more often than he misses--he's still a singular musical artist with a singular vision, and he's not even close to running out of stories on Where It Hits You.

Adding the pluses and minuses, it's clear that Waiting for Something to Happen isn't a failure by any stretch, but it is something of a disappointment.

Put Summer Camp in the category of bands that are too good to ignore, but too uneven to truly embrace. Summer Camp is frustrating proof of that sad fact.

The album seems somewhat patched-together compared to other Ghostface albums, but it still boasts some excellent tracks. The main problem is the blatantly homophobic and misogynistic lyrics which crop up throughout. Not that this is anything new, or unexpected, but it still mars an otherwise strong album.

Stitched together as it is, One of the Best Yet is a priceless benefaction. Premier was no doubt compelled to see it through for himself and the memory of his deteriorated union with Guru. That regard for the Gang Starr legacy is felt throughout the set, a gratifying listen for anyone who can get past Guru's incapacity to authorize it.

Person to Person is a pleasant enough listen rather than a gripping one, somewhere between enjoyable inspiration and careful exercise, a flavoring in the general indie rock milieu of the early 21st century that, for the moment, can have no greater impact.

Satisfying but rarely challenging, Quixotic is a fantastic start to a solo career, and its display of range, talent, and charm suggests that Martina Topley-Bird has an endless well of creativity at her disposal and that she is most likely destined for greater things.

Not a hint of pretense makes even the most formulaic tunes and lyrics ("Little Baby," "Party," "Come On!") seem inspired if not quite inspirational.

If you're looking for some red-hot rockabilly, the Rev is still your man, but Revival shows off some unexpected sides of his personality, and the changeup makes for some refreshing listening.

There may be some satirical, post-ironic thing going on here, but you'll be too bored to notice or care.

Funky is the surprising quality of this work, which is why the album stands out among the group's past efforts.

While the Kolars may lack the vocal pyrotechnics of their obvious influences, like true thespians, they have the moxie to make even the most mundane moments seem exciting, which supplies more than enough firepower for the aptly titled Nobody Dances in This Town, a notion that they obviously intend on remedying.

The overall effect is mercurial and uneven, but also fun and hooky as well as potentially cathartic -- especially for anyone who is over it.

A solid collection, but the shadow cast over the project by DMX's death highlights some of the inconsistencies and adds a heaviness and sense of unfinishedness that's palpable throughout.

The weird detours and stylistic wanderlust result in an album that somehow makes a lot of sense as a larger statement, with all the dissimilar sounds contributing to a listening experience that demands attention and doesn’t let go once it takes hold.

Sewn Together suggests that the Meat Puppets are following their bliss again, and if it's not quite up to the standards of their classic material, there's no question that it reconnects with the qualities that made them so special.

Thanks to its beauty, warmth, and top-rate songwriting, Cut Copy remain atop the pile of dance-rock groups in 2011, right next to LCD Soundsystem. Thanks to its beauty, warmth, and top-rate songwriting, Cut Copy remain atop the pile of dance-rock groups in 2011, right next to LCD Soundsystem.

The whole is a portrait of a collective creative spirit that sounds as unsettled and fascinating as when the original recordings were made.

Ultimately, Mia Pharaoh is so full of catchy, disco-on-the-cheap numbers that it sometimes sounds a bit like a vintage Eurovision Contest compilation--and that should be taken as a huge compliment.

It can slip into the background but it also rewards close listening because Ford captures a hazy, unsteady vibe where the future may be uncertain but there's faith that it will arrive.

It's a promising debut that doesn't skimp much on melodies or emotion, and while it might have been interesting to hear a few songs that took a step outside the comfortable bubble of sound the duo creates, what's here makes for a very rewarding listen that's always warm and very, very comforting.

While, depending on perspective, the album's a bit shallow on dignity, it goes a long way on atmosphere and seductive, despairing style.

The sound on Decency is truly an adventurous move for the group, and one that's paid off with possibly their best album to date.

Overall, Blossoms is a strong debut that distills the best of the quintet's diverse influences into a catchy amalgam that opts to shoot for the mainstream rather than stick to the same old sound.

The sparser songs here have everything they need, however, and that's the album's most impressive feat, even topping memorable melodies: a feeling of stability in the territory of loss.

Grinding Wheel never feels like anything less than vital. Overkill, or to be more specific, founding vocalist Bobby "Blitz" Ellsworth and bassist D.D. Verni, have been at this racket for nearly four decades now, and the fact they're continuing to dial up the intensity instead of resting on their considerable laurels is impressive, to say the least.

It's enjoyable yet familiar fare, and whether or not Ulrika Spacek bring anything new to the art rock table is certainly debatable, but with Modern English Decoration, they've definitely established themselves as reliable, and occasionally crafty, sonic spellcasters that reward a patient ear.

Without Tinsley nor the late LeRoi Moore, Dave Matthews Band doesn't seem as loopy or rangy as it did in its prime, yet this leaner sound suits a middle-aged Matthews who is comfortable in his skin yet restless in his mind.

There are a handful of darker moments, like on the moodily defiant standout "More Women" and the eerie closer "You've Got a Story," but as a whole Wild Seeds is a reassuring balm of thoughtful songwriting and complex but wholly relatable emotions.

With 11 Past the Hour, May has crafted a generous, collaborative album that feels like she's lifting others up, just as they are lifting her.

The choruses are delivered in joyously emphatic unison. If there is a complaint about Cold as Weiss, it's that at 40 minutes, it's a tad short, because no one wants this dance party to end. (If you do, please check your pulse, you may have expired.)

Smith helps give Blues Deluxe, Vol. 2 a loose, lived-in feeling that contrasts with the eager fire of the 2003 record. It's a change that suits Bonamassa.

If Innerstanding favors aural texture to melodic immediacy, there's intrigue in how its electronic pulse intermingles with shimmering mantras, resulting in a record that reveals its mysteries over time.

Like some of his other albums, though, Landscape from Memory runs a little too long, with a few of the slower, less exciting tracks seeming unnecessary. That's not to say that it all sounds samey or lacks inspiration, however, and the record's best tracks are exceptional.

While some of the songs on Oh Snap are as poetic and musically engaging as her best work, others -- including the vocoder-steeped, house-infused number "A Little Bit More" and her brief, off-the-cuff a cappella take on the Commodores' "Brick House" -- though intriguing, never fully transcend the feeling that she's just having some fun in the studio.

There is much that is admirable about The Diving Board--the feel is spacious and haunting, the ambition is commendable--but the emphasis on tone over song means it leaves only wistful wisps of melancholia behind with the actual songs seeming like faded, distant memories.

While Half of Where You Live is a slightly more streamlined electronic album than his debut, it still manages to be a transporting work that is easy to enjoy as a hip, calming background mood piece, and stands as a nice, fitting addition to the Ghostly International catalog.

Equal parts whimsical and despondent, it's Disintegration-era Cure wearing an Imagine Dragons hoodie that's trying to have an LCD Soundsystem, "All My Friends" moment, and while the Faint don't quite pull it off, they're all the better for trying.

Sic Alps isn't quite as flowing as its predecessor Napa Asylum, but it still does a fine job of balancing the band's increasing prowess and the sprawling, noisy mischief for which they've always been known.

A couple tracks might sonically resemble inferior versions of years-old tracks that helped make Nas a hip-hop deity and, nearly ten years after Nas was first accused of selling out, he might still sound a little awkward over radio-friendly productions. But the MC has never made an album as engrossing or as necessary as this one.

Ida continues to create slow, sad music that maintains interesting depth within the ache.

Feels comfortably familiar even as it rages to say something new.

There are some great moments on Haven... but until Borth learns how to realize his vision, his albums are going to fall a little short.

There are many (too many?) bands in 2013 playing this kind of raucous garage rock, but thanks to the perfect production, the high-quality hookage in every song, and the nuanced yet powerful performance The Jacuzzi Boys deliver, there are precious few bands doing it better.

Though it's hard to believe it's possible, Antonoff shares even more of himself on Gone Now than on Bleachers' debut, and it makes for some of his most immersive and satisfying music yet.

While not all of Magic 2 is this strong, there are several moments like this one ["One Mic, One Gun"] that can contend with the best of the King's Disease material.

Despite the prominent guest stars and radical musical changes, Shiver's focus is always on Jónsi and his innate gift for expressing pure feeling. As he reinvents what is essential to his music, he delivers some previously unimagined thrills.

Similarities to their debut are much easier to find than differences, although the songs aren't quite as memorable (except the single "I Don't Feel Like Dancin'") and Ta-Dah is slightly samey in comparison.

It's a stronger and more satisfying piece of work than most of his other post-millennial albums, and it's the closest thing he managed to a truly effective rock & roll collaboration; it's an impressive finale to a genuinely remarkable career.

There is nothing in the fiery spirit of "Low End," but there are some dynamic moments where songs like "Pushing Out" or "Looking Out" crescendo almost to a majestic rock-out. However, most of the album is more in a mellow Americana/alt-rock style that favors bluegrass instruments, and lush orchestration.

Foam Island is a curious, enjoyable album that abundantly showcases Darkstar's tendencies for experimentation as well as pop songwriting.

Bankrupt! isn't nearly as devoid of new ideas as its title suggests, but it doesn't feel like quite the leap forward Wolfgang was compared to what came before it. Not that it necessarily needs to be.

More than just musical footnotes, these reworkings add extra depth to Mount Eerie's already complex body of work.

They take things just seriously enough that their albums don't feel like a joke, but aren't afraid to have a little fun, making Maximum Overload another dazzling heavy metal romp from the stalwart shredmasters.

Panic Prevention isn't much better than its best three or four songs, and it's due to Jamie T.'s stubborn insistence on being understood only by himself, or perhaps a precious few in his coterie.

While somewhat brief with just seven songs, there's more than enough diversity on Deathfix to keep things interesting throughout.

The 70-minute length of To All the Girls does make the album feel a little samey, but that can be a good thing, as it makes for nice, romantic mood music or a drowsy Sunday afternoon at home.

Though the album loses a little focus after its near-flawless first half, Shake Shook Shaken is the Dø's finest work yet and a pointed and poignant document of change and its aftermath.

This is a love-it-or-lump-it album, a polarizing effort that--depending on personal preference--is either irresistibly attractive or laughably, overzealously pretentious.

Thanks to their actual growth as artists, it may be their best yet.

Seekers and Finders is as riotous, poignant, and fun as anything by Gogol Bordello; that said, Hutz's raw production is a closer reflection of the band's live sound.

Tim Wheeler--who produced the record on his own--is as much a craftsman as a songwriter, hammering out melodies and riffs, and his resulting tunes aren't fashionable, but they are sturdy.

Earth to Dora is well-written and imaginatively produced pop for grown-ups that reminds us Mark Oliver Everett is crazy enough to try anything once -- even feeling OK for a while.

The album cools down with ambient interlude "Miyajima" and midtempo closer "The Waiting," providing a patient ending to an album that gracefully deals with personal upset and disappointment.

This broadening of the palette is as deliberate as Accelerate's reduction of R.E.M. to ringing Rickenbackers, and while it occasionally feels as if the bandmembers sifted through their past to find appropriate blueprints for new songs, there is merit to their madness.

From a Compound Eye winds up standing apart from the pack of Pollard projects even if it doesn't stand that far apart.

Coming from the creative hotbed of modern-day Berlin, it seems like they could have pushed the envelope a bit more.

Granted, Lidell has more of a retro touch than any pop group would dare consider, but these songs are just an AmIdol appearance away from the commercial mainstream.

Garwood's haunted musical vision is seamlessly suited to underscore Lanegan's dry-as-dust vocals and his American Gothic lyric skills.

The greater flaw of Liberation is how its blend of R&B reflection and tense testifying doesn't seem to be an easy fit on any format in 2018. This weakness is also a strength, as it shows that Aguilera didn't take an easy route with Liberation: she instead found a hybrid between the personal and commercial, which makes the record resonate emotionally no matter what success it may or may not have.

Broken Bells is an honest-to-goodness debut album--there are as many promising flashes as frustrating moments here. Mercer and Burton have obvious chemistry, but they need to blend more for true alchemy.

A Coliseum Complex Museum is further proof that the Besnard Lakes are a band with big ideas and real vision, and just as importantly, they have the talent and focus to makes those ideas into something worth hearing.

Good chance newcomers will fall for the singles and be frustrated by the perceived filler, but that's the biggest fault with Wonder Where; it could be more persuasive and open.

A debut that largely lives up to all the surrounding hype championing the group as one of the hottest new indie up-and-comers.

There's a comforting softness to the album (only occasionally broken by a stray emotion in Eric Emm's vocals or a danceable tempo) that makes it perfect background music for working away in a cubicle or relaxing after a long day.

Berry makes no attempt to chase trends or offer a final statement; he just gathers his ten best recent tunes and that's why Chuck is such a fitting epilogue to a legendary career. It captures the essence of Chuck Berry, how he could turn the everyday into something exciting.

As with most endeavors in uncharted territory, some songs miss the mark (an unnecessary ambient keyboard instrumental "Flush," for instance), but the straightforward beasts like "Billy Fish," "The Smiling Cobra," and the majestic title song "Nude with Boots" showcase the Melvins at the top of their game, while the lumbering brutality of "It Tastes Better Than the Truth" and "The Savage Hippy" shows that their warped sensibilities are still intact and that they're far from softening, even after almost 25 years in the game.

Social Distortion sounds just as you would expect on Hard Times and Nursery Rhymes, but that's to say they sound like a fine and fierce rock & roll who have beaten the odds and stayed around to keep making music long after many of their peers gave up, and the commitment that holds them together can be heard bubbling under each tune.

Now in his middle age, he's a richer, nuanced singer than he was during Oasis' heyday, yet he's retained his charisma and, unlike his brother, he favors color and fire in his records, elements that not only enhance this fine collection of songs but make this the best post-Oasis album from either Gallagher to date.

It's Not Me never hits heights as blinding as "Smile" or "LDN"--but this approach does wind up spotlighting just how special a pop star Lily Allen is, how she captures all that's wretched and glorious about her time without falling into any of its traps, probably because she's clever enough to avoid them in the first place.

The songs lack the energy, the feeling, and even the melody of Underworld's classic records.

As promising as it is inconsistent, Hocus Pocus may not be Enon's strongest album, but it's still a fairly interesting one.

Far from being an angry album, Show Me Your Tears is filled with the kind of conscious joy that comes from working through your problems.

Honeycomb is steeped in tradition, yet manages to buck it at the same time; while not all Pixies and Frank Black fans will appreciate its mellow maturity, it's an intimate treat for those who follow its lead.

Generally good but occasionally uneven.

The only complaint with the album is that all the angst and gloom can get pretty heavy at times, but if you are in the right mood, Last Secrets can play like the soundtrack to a broken dream.

Though the album has its fair share of songs that sound like stylish, smart, but lulling background music on first listen, The Hair the TV the Baby & the Band reveals its catchiness gradually.

Who Was Changed and Who Was Dead reveals a greater maturity and lyrical polish than much of his previous work.

All About Tonight wasn't recorded to reach a new audience, so much as shore up Shelton's fan base while furthering his chosen marketing experiment.

While Blue Giant has the freshness and enthusiasm of a debut album, it also boasts the artistry and intelligence of a band with years of experience, and this music brings forth the joy of the best of both worlds.

This sprawling mosaic of 22 songs has more room for melody and nuance than any of their previous albums, and they divine many moods and sounds within their fuzz.