It's an enjoyable look back at one of the main players during an interesting era of American indie rock.

After 25 years, the Mighty Mighty Bosstones remain pretty much the best at what they do, and what they do remains lots and lots of fun.

She manages to sing through her torment on Voyageur, in hope that the journey is ultimately redemptive.

If it isn't as strong as 2009's Something's Wrong/Lost Forever, it shows Biram is too tough and too stubborn to quit telling his tales any time soon, and for folks who like their music rough and real, that's a rare bit of good news.

You'd have to go a long way to find a better indie rock album in 2011.

More to the point, it sounds like a souvenir CD you might pick up at the gift shop of a historic battlefield site.

This straight-faced, more serious version of the band still knows how to crank out some solid songs, but it would seem that, in maturing, Four Year Strong have lost their way.

An enticing listen.

Through these two discs, the band's highs, tragedies, slumps, and comebacks are all evident.

The Girl with the Dragon Tattoo is a musical labyrinth that is well worth getting lost in for Ross and Reznor fans as well as soundtrack buffs.

Forever is a mood album, heavily sedated and perpetually out of focus, like an R.E.M. dream after cough syrup.

Punk and Poetry, sees them come out fighting with more fervor, more radical spirit, and more anger than ever.

In 2011, the band is still going strong... Several tunes here sound like they could end up on Fairport's next greatest-hits compilation.

In all, Jeniferever couldn't be better designed for soundtrack music to a moody sci-fi drama of the 2010s.

Bloodless Coup gets rocky at points, but there are more than a few scattered gems here.

A genuinely moving -- and beautifully performed -- record from start to finish.

They're one of the most consistent bands in metal, and this is a terrific example of them playing to their strengths.

The album traces a journey through personal hell to salvation, which is not all that different from the story told in other religious music.

It's no turning point in a field populated by dozens of elder space cadets and mood architects, from Massive Attack to Spacek to Sa-Ra. As a flawed first step from a young newcomer, however, it's impressive.

Does fall just short at times of mimicking a brand of saccharine faux-post-big-band jazz that flourished in the '50s and early '60s, but Haden and his team are too masterful to allow their tribute to lose its stylishness.

Often, the individual pieces of this patchwork pop are more captivating than the overall image, yet there's still an undeniable appeal to Urie and Smith's crazed earnest energy.

It's a bit of a surprise that this album sounds like a watered-down diluted Urban Hymns, with all the romantic darkness turned into something cheerfully dippy.

A loud and obnoxious ruckus.

Although the rage gauge occasionally hits the red, the melodies are too sugary and catchy to feel sincerely scathing.

Much of the album is ruminative in a way that leans heavily on Dylan and Costello. Despite these echoes, the album is quite clearly Geldof's creation.

[Woomble] continues his journey into cozy-pipe-and-slippers-middle age on 12 folk-pop tracks which further distance him from his angsty, indie rock beginnings.

Of limited appeal, but appealing nonetheless.

It's not particularly big or, indeed, clever, but it's a return to form that might just stop the rot, even if it's unlikely to reverse their fortunes dramatically.