It's not markedly different, better, or worse than previous BFS albums, with the main distinguishing factor being that there's nothing with a killer hook along the lines of "1985," but for the legions of faithful fans, more of the same isn't necessarily a bad thing.

Within the digital production, which is acidic and cavernous, there are hints of the Kills (fuzz blasts, crunchy mechanical drums), Clinic (vacant vocals), and Animal Collective (watery, circular melodies).

Though it has plenty of appealing moments, it just doesn't capitalize on Morrison's vocal and star power.

Even if the primary common characteristic of this stuff is how exceedingly pleasant it all is, there's always a place for that, regardless of what month it is.

While a few of these songs stick in your ear right away, perhaps not surprisingly for a band named after small statues, the overall tone of the album is one of detailed intricacy.

Inclusions is not an album for any typical audience, though those with more esoteric and adventurous tastes may embrace it.

While nowhere near as focused as 2009's White Lies for Dark Times, Give Till It's Gone does possess moments when all of Harper's gifts as a writer and guitarist are evidently clear.

Latecomers, as well as longtime fans whose favorite Moby material remains the Mimi Goese collaborations on Everything Is Wrong, should have no problem soaking it up.

The material is arranged chronologically, but beyond that, one set of tunes stumbles into another without making sense of their different sonic and musical characteristics as Iggy's backing bands (none of whom are credited) and musical approaches shift from concert to concert throughout this set, leaving Roadkill Rising in dire need of some sense of focus.

Burning with a hot track intensity somewhere in between early evening rave-up and late-night club afterglow, Torches is a beacon of melodic dance-pop love.

Knight has a certain hunger to his performance, giving these steely, cluttered soundscapes a semblance of warmth which makes it a far cry better than the cold calculation of The Block.

Build with Erosion casts a wide net, but its 11 songs still cast a consistent mood, falling somewhere between pleasantly hypnotic and purposely peculiar.

What he doesn't really have is a strong hook to pull listeners into the album; there's nothing surprising or unexpected or exceptionally hooky, just 12 polished slices of contemporary country that will surely please longtime Brooks & Dunn fans largely because it doesn't feel all that different than the duo.

In many ways, In Light splits the difference between the peppy pseudo-Afro pop of Vampire Weekend and the percussive, improv-heavy dance rock of Local Natives. That might be a bit of a knock against In Light if it wasn't such an accomplished, ambitious debut.

Sonically, it's the Submarines' most interesting record to date. Melodically, it's a bit spottier than usual, relying heavily on a handful of highlights to shoulder the weight of the saggier numbers.

Self-describing their sound as "fight-pop," the impossible-to-type Scottish six-piece Dananananaykroyd stay true to their word on second album There Is a Way, which appears to be waging a war against staying in tune, coherent lyrics, and the concept of subtlety on 12 anarchic tracks that attempt to pummel listeners into submission.

As Boeckner repeats the words "I have no feelings" in the last song, he seems to be driving home a point. Prior Handsome Furs outings had a lot more emotion behind them.

Most of Modern Love is almost meticulously inoffensive, shot through with a middle-of-the-road approach that rarely overswings or underwhelms.

This is Bolton doing what he does best, and doing it so well that anybody who picks this up thinking it's a compilation won't be disappointed with what resides inside.

Get Your Heart On! is every bit as tuneful as the group's debut.

Sure, as sheer sound, it's executed well -- more assured, musical, and, well, professional than any of their other albums, their age lending them a dexterity absent in their hits -- but the deliberate retro-rage begs the question: who exactly is this music for?

Despite its pointed title, Culture of Fear is not quite as politically minded as Thievery Corporation's previous studio album.

This Loud Morning winds up as an album that's primarily textural mood music for the morning, and one that's not all that loud either.

Very much like its predecessor, Devil's Music derives most of its noteworthiness and novelty (and arguably, for better or worse, much of its musical interest) from an impressive, sometimes head-scratching roster of guest vocalists drawn from pop, rock, rap, and reggae.

For Shelton's fans, this is a whole helping of what you like best, and it's carefully formulated to be exactly that.

Player Piano offers enough of Hawk's characteristically inventive sonic tinkering -- including, the title notwithstanding, an intriguing emphasis on organ sounds -- to merit repeated listens, even if these productions do sound worrisomely flat at times.

This Is the Computers sounds good enough on the one hand, but on the other, it's a bit of an on-off effort by the band, initially an example of sudden moments almost working more than the songs.

Experimental while always pop-oriented and engaging, Was I the Wave? is a great summer afternoon album for chilling at the beach or day-driving with friends.