This is a dark, sparse, elegantly--and enjoyably--somewhat mopey, paradoxical album. It’s emotionally raw, but devoid of self-pity. It's charming in its sense of irony and self-awareness.

There are quite a few moments where they come close to a meaningful hybrid of their past and present, some that are truly wonderful. Unfortunately, there aren't enough of these, and it's just as easy to remember Girl's misfires, questionable choices and half-baked lyrics as its successes.

This is a wonderfully entertaining collection of pop songs that just happen to be well-versed in history and political and economic theories.

The riffs are huge, the rhythms are sneaky and brutal, and the "guitarmonies" are effortless, due with little doubt to the band's epic touring schedule. In fact, everything's been turned up, except the vocals.

Clearlake got it right this time out. They have has never sounded as triumphant as they do on Amber.

It's pleasant, even comforting, which makes Forth as pure a sequel as possible: it's an album that offers more of the same many years too late, which will be enough for the legions of faithful who have waited to hear all the old characters back together again, yet seems a little pointless for those who no longer remain quite so invested in the band.

The Pretenders' eighth studio album, Loose Screw, is their first on an independent label after 20 years with Warner, but the switch hasn't made any difference in the group's style.

Laika's typically airy atmosphere sounds more sterilized this time around.

Little Heart's Ease does deliver more of the dark but oddly jaunty songwriting that made Royal City's previous album noteworthy.

For those who have been waiting for Gomez to come up with something that truly rivals their amazing debut Bring It On, wait no longer. This one is great.

Its quietness and moodiness make Summer Make Good Múm's most demanding album, but also, fortunately, a rewarding one too.

Though Uh-Oh! wisely avoids overtly contemporary electronic styles in favor of exotica, lounge, bossa nova, soft rock, and analog synth tomfoolery, its 18 tracks are strangely amorphous, the aural equivalent of a lava lamp — equally kitschy and hypnotic.

It never feels as urgent as his prime work, but it's at once his most accomplished and visceral record as a veteran rocker.

Moorer, besides being good at penning lyrics, is smart enough to write catchy hooks.

Cuomo still doesn't allow himself the freedom to venture in these directions on Weezer's albums, and that's what makes both volumes of Alone quite valuable: they're as eccentric as they are accessible, portraits of a pop hermit letting his mind wander wherever it may take him.

Communion is easily the most consistent yet visionary and expansive recording Soundtrack have released yet, and proves beyond the shadow of a doubt, they are, even without mass acceptance, an impressively grand rock band.

It's fairly inoffensive rock, but the music and melodies are remarkably accomplished, especially for an early outing.

Alt-J's wave is far more awesome when it's at its most schizophrenic.

A surprisingly compact album, Tracer covers a lot of musical ground in under 40 minutes, and on the whole it feels like a love letter to electronica's formative days (or like an album they might have sampled from in the past).

Unlike White Trash with Money, there is no unifying sound or theme here: it's just a satisfying set of strong songs.

Mild High Club doesn't try too hard and avoids indulging in cloying weirdness, resulting in an enjoyable, naturally flowing album.

The music represents a brave move forward. The lyrics, however, are not so innovative.

There aren't many post-punk influenced bands around that sound as original and as removed from their influences as Pretty Girls Make Graves. There also aren't many that could write an album jammed with so many memorable songs.

Even with a few stumbles, Raise the Dead is among Phantom Planet's most enjoyable albums.

What is plainer throughout is that someone has finally delivered a follow-up to the Beach Boys' "Friends" album, dwelling on moments and sensibilities that slip past most of us in the normal course of a day.

I Predict a Graceful Expulsion feels like a late round in a long fight, and while it may not deliver a knockout punch, it most certainly deserves the win.

Franz Ferdinand feel more engaged than they have in some time on The Human Fear. It's some of their most self-assured sounding music, but thanks to its naked emotions and eclectic choices, it's also some of their most human-sounding music. All told, it's a respectable -- but not too respectable -- addition to their body of work.

There's a pronounced chamber music feel to much of the instrumentation, particularly with the liberal use of cello and violin drones, as well as harp accents. Often it's darker and tougher, however, than some other artists who follow similar lines.