It will remind you that Stephen Malkmus is one hell of a songwriter, whether you like him or not.

Low's most accomplished album yet, if not its most creative.

Dog has a strong, old-school rock and roll feel to it.

The Sophtware Slump more than makes up for its repetitiveness with sheer atmosphere and brilliance.

OutKast are hip hop’s version of Radiohead: the only consistently platinum act concerned with not only pushing the limits of their genre to another level, but moving music as a whole.

Stories is rich with texture and memorable melodies.

As musically far away as it is from OK Computer, the record is actually a logical progression.

Effortless, breathy pop music that you just have to close your eyes and smile to.

This ambient/noise/psychedelic amalgam is limited by tedious repetition and a lack of emotional focus.

Ghost have helped Damon & Naomi reinvent themselves on this dream-pop excursion.

Sounds more like a toss-off by a drunk band in the studio.

While Golden Greats features some intriguing tracks and a healthy dose of Brown's trademark bravado, it doesn't come close to ringing in as powerfully as the Roses' era-defining sound.

Mwng fits right in with their unique vision, and shows that the band can happily and productively work outside of the traditional bounds of the music industry.

SDRE has always flirted with prog-rock machinations, but some of these songs are just too over the top to be written off as experiments in musical nostalgia.

With White Pony, the Deftones have crafted the kind of top-notch album that Tool and Korn have been wanting to make for years.

An absolutely awesome album.

The true strength of Elephant Shoe lies in its transcendent quality, in its ability to sweep you away with its hypnotic beauty and transport you to the heights of your own imagination.

Certainly Blonde Redhead's most accessible yet.

Belle & Sebastian's formula is beginning to see some wear.

Is The History Of Rock the worst album of all time? In a word: Probably. I suppose I can’t say for sure, as I haven’t heard Kid Rock’s other records.

Its boisterous, melodic rock is invigorating to hear from a storm-weathered, 24-year old band.

The band's most consistent, well-written effort yet.

The big downside is the lyrics.

He wastes half of the ideas for lack of a good singer, and can't resist some counterproductive musical doodling in the arrangements.

One of 2000's best rock records.

She retains her unique quality to marry upbeat, elegant melodies to witty lyrics that exhibit a disenchanted but honest take on life and love.

Once again defiantly demonstrates Ween's talent and versatility.

An album of stark beauty and utter honesty.

The best record Lou Reed has made in a long time.

The uninitiated will still perceive these songs as music to slit your wrists to, but The Covers Record is actually the first time Chan Marshall lets her hair down for more than one song per album.

A very pretty, measured album of slow, organ-supported mood crawls. And nothing else.

Cure fans will enjoy this record, it's well-made and Smith doesn't break character. Everybody else, no sequels to "The Love Cats" will be found herein. Feel free to stay the hell away.

Music this laid-back but this deep, so full-bodied and yet so restrained, could only have been made by Lambchop.

This album's not a joke. It's too damn good.

On Pawn she chooses to rock, but in her own unique swinging way. Her songs are not ballads, but epics of rock, classical and postmodern music.

One of the Flaming Lips' most listenable records and another step up the ladder toward pop perfection.

Unfortunately, the last third of the CD isn’t nearly as good as the first two-thirds.

With patience, 13 reveals itself as sort of a poor man's OK Computer, only instead of Radiohead's airborne sonic journey through the future, Blur investigates the murk of its inner-city swamps.