For a collection of songs that are supposed to be carrying the weight of an imminent apocalypse on their shoulders, there are very few moments to be found on Top 10 Hits that seem to be affected by this burden.

It's short but manages to feel long. It's interesting but manages to feel dull.

Much of Cobra Juicy finds itself operating more on the sensitive side of their distinct weirdness, with the album sporting some of the bands gentlest, breeziest, and most romantic sounding tracks yet.

A lot of the time, this album doesn't do enough to sound much more than merely pleasant.

The Hood Internet couldn't decide whether to make a party record or a moody record. They tried to do both and succeeded at neither.

You can imagine, and probably relate, to the monotony and helpless angst that attacks us when we're a certain age, going through certain ritualistic processes of life. So imagine this record as the soundtrack to those feelings, and how liberating, not only that would have felt then, but does feel now.

Mostly everything is contrived and cliché, lifted from a stock collection of guitar rock and electro rock of the past ten years.

These songs feel more accessible and much less significant. There are a few tracks here that reanimate that sense of excitement which permeated his previous record but they are few and far between.

At times, the songs feel a tad underdeveloped, with sumptuous hooks shining bright over slipshod, kraut-inspired synths and metallic percussion lines... [Yet] Banks can still write a killer song like Summertime is Coming, which greatly overshadows most of the others.

Long Slow Dance might be a strong garage pop album with some incredibly catchy songs, but it could definitely be grounded from its chick flick sensibilities.

Trash Talk are still far from a pop group, and the album features some highly destructive moments in its 22-minute span – but unfortunately, 119 features too many weak spots of lukewarm punk that suggest the group is beginning to slip away from the fully realized and perfectly balanced sound the group was just starting to master.

By removing much of their signature distant-sounding vocal filters, grand historical speeches, spacey drones, and tightly knit arrangements, Titus Andronicus has successfully eliminated any sonic barriers that once stood in between the band and their listeners.

For many reasons it is confused, self-absorbed, remarkably gauche. It is so often an intentionally uncomfortable thing to listen to... [yet] intriguing.

Compared to Rock and Roll Night Club, 2 is a more polished and refined take on his brand of minimalist rock, structured around his keen songwriting.

Barring a few notable tracks, this debut from Snaith under the Daphni name, fails to coalesce into anything resembling the creative designs of his previous records.

Tall Ships are still navigating in search of their ideal destination, and their second voyage may prove to be an even more enriching one.

While Lekman certainly knows how to use a sample, it is his songwriting talent, his storytelling ability, and above all his remarkable emotional honesty that make I Know What Love Isn't the finest achievement of his career.

Twins proves to be an excellent collection of over-driven garage pop scorchers that fully exhibit Ty's personality and passion for rock and roll glory.

It's like a Jason Statham film, leave your brain at the door, don't think, enjoy it for what it is.

It doesn't really work for either audience it aspires to please, and I'm left feeling a bit bored.

This album displays the band at an absolute low-point in their career.

[The album is] really nothing but fun, and it sounds for the most part like it was put together that way, if we can allow that Lynne's idea of fun is carving out a perfect piece of pop production for each delectable morsel he offers up.

One of the most spectacular and intense albums the group has released yet.

In all, ERAAS, though fully invested in the possibilities of their vacuum and their vocal prowess, are at their best when the instruments can breathe.

Strapped's thirty-something minutes of southern California rock doesn't turn the page on anything new, but is still a worthy listen. The album holds true to the band's striped-down signature sound from their last two albums, with a sprinkling of a few stand out tracks.

Though [the songs on Transcendental Youth] may not reach the highs of past songs like Damn These Vampires from last year's All Eternals Deck or Family Happiness from The Coroner's Gambit, there is still plenty here for fans of The Mountain Goats to sink their teeth into.

Perhaps the best way to approach Theatre Is Evil is not even as an album, but rather a collection of songs--all fairly similar but often good, sometimes very much so.

The 2nd Law is a love-it-or-hate-it record. It contains some of the best songs Muse has done in recent memory, but also the worst