The best moments are some of the strongest of Gibb’s career, but too much of the material lacks the hooks and pure pop sensibility to make this the truly great album we were hoping for.

Garage punk hero Jay Reatard has grown up, and, surprisingly, this has turned out to be a very good thing indeed.

The sparse songs are free of drums, bass, riffs and obvious choruses, and are often pushed along by just two, sometimes three, chords.

Hospice isn’t uplifting or hopeful; it explores themes of dejection through delicate, beautiful sounds.

The sloppy rockers sound frozen in grunge time on their third release, and it works incredibly well for the dipso punks.

His first album in four years picks up exactly where The Trinity left off: at the centre of the dance floor.

There’s only so much nudge-nudge, wink-wink you can take before you want to shove a sock in the dude’s mouth. On the bright side, they stand a good chance of scoring a few top-40 hits with this dreck.

Fans of Chad VanGaalen will find much to love in Black Mold, the Calgarian’s electronic instrumental side project that reveals just how fertile his imagination is (in case we needed further proof).

Unfortunately, they mostly come across as predictable and chuckle-worthy for the wrong reasons.

Post-Nothing is their eight-song debut, and it goes by in a flash of infectious, sweaty anthem jams about angsty youth problems.

Interesting, but not mind-blowing.

This could be a glimpse of a post-Interpol Banks or a hint at a musical transition within the band. It’s worth a listen either way.

This collection of B-sides, recorded over the past few years, is way more put-together than Modest Mouse’s previous rarities comps, Building Nothing Out Of Something and Sad Sappy Sucker. But it lacks the carefree charm of Isaac Brock’s pre-success indie rock experiments.

When she strays into pop territory, her lyrics and vocals remind us of electroclash’s cheesiest moments. When she keeps it raw and downtempo, real talent shines through.

Scott Reitherman, the multi-instrumentalist behind TMTS, switched to a full band following 2007’s "Moonbeams," and it paid off. Creaturesque stays aloft thanks to its big sound and well-placed handclaps.

Infinite Light offers mellow, contemplative folk-pop that never gets overwrought or fussy. The arrangements are stripped-down and intelligent, the melodies moving, the lyrics gently optimistic.

They’ve crafted an album that stands on familiar rock ground but isn’t at all stock.

It’s been a while since Fiery Furnaces released an album with songs that stick in your head. I’m Going Away, the Brooklyn band’s eighth release, is full of them.

Sweet and Hoffs’s pedigree separates this covers comp from the chaff, which is why people like Lindsey Buckingham guest on their inspired version of Fleetwood Mac’s 'Second Hand News' and George Harrison’s kid, Dhani, on their take on 'Beware Of Darkness.'

As a feel-good summer dance mix, Sidetracked is fun and doesn’t rely on obvious monster hits to keep the momentum.

There’s plenty of the intelligent, expansive instrumentation that’s earned TMSR their band-geek badges, but despite a strong finish, Universe lacks a life-changing single.

The 12 songs verge on inert, and singing is beginning to sound like a painful act for him. His lyrics, however, are inspired.

The album teeters on adult contemporary but never lets go of Maxwell's characteristic playful glint. Anyone remotely interested in his sound should pick this up.

The result is a very quiet record (possibly reflecting her admittedly timid nature--stage fright was once a big problem for her), but one that rewards a close listen.

Production by El-P, Aesop Rock and F. Sean Martin gives this album that trademark Def Jux feel, but the rock-driven direction of a few tracks may be a deal-breaker for fans of Cage’s earlier sound.

The album’s creeping ambience and modest pace make it great background music at work, but its many sub-themes and intricacies also make it a rewarding sit-down listen if you can spare an hour and 40 minutes.

Now, two years after the barbershoppy crew’s breakup, the Justin Timberlake of J5 delivers his solo debut, with predictably solid results.