While there's nothing too stunning to be found on Three-Four, there's also nothing really sub-par.

Rarely is so-called "difficult music" so rewarding, and rarely is it so simple.

Revolutions is pretty breathtaking.

There's a fragile beauty inherent in Printz's slapdash slop-hop that belies the duo's goofy profile and bodes well for their future endeavors.

There's definitely nothing earth-shattering here... but there's nothing that's going to alienate the fanbase, either.

If "We Are A&C" was the album's low point, the album would be in great shape -- but there are a few half-hearted tracks that stake a more legitimate claim to that dubious honor.

For a band that regularly draws comparisons to Beta Band and Pavement, Vehicles & Animals is all too pedestrian.

Finely crafted, if modestly affecting, froth-pop that bubbles over with dreary sexual overtones and loads of youthful paranoia.

There's not quite enough to justify the addition of another album to the Blondie catalogue.

The passion that once seeped from the group now appears manufactured.

It's not necessarily a welcome change, as drugged-up, dubbed-out majesty has always been Fearless's stock-in-trade, but there's something oddly captivating about these dusky grooves and forlorn moods that makes it difficult to view the project as a failure.

Devoid of Tanaka's usual unpredictability, Beautiful is bland, linear and frequently downright dull, with entirely too many six, seven and eight-minute songs running out of ideas long before the halfway mark.

Making the effort to unravel the tightly packed layers and unconventional (even by 'Lab standards) song structures can seem downright daunting, regardless of how long you've been following Sadier and how many of her EPs you've devoured.

If you think too hard about a record like this, you'll probably be ashamed to own it. Let's be honest: despite its Eastern rhythms, intricate melodies and exotic instrumentation, it's basically a yuppie sex record.

The remaining songs are uniformly well crafted, but they aren't necessarily going to please the people who come looking for more of the old "Jerk It Out" magic.

Mono singlehandedly redefines the concept of dynamics. They are very quiet, and then very loud. It will hurt your head.

There's far too much nondescript strumming and far too few meaningful hooks.

Many fans may be turned off by the abrupt shifts in pace and style, but engaged listening reveals an overarching sensibility that guides the project from beginning to end.

Sparta seem a bit too retro-focused for their own good.

There's a lot to admire on Jackinabox, although it's ultimately less than spectacular and even occasionally embarrassing.

Listening to frontmen Jason Hill and Brian Kareig chop-up every '60s and '70s rock 'n' roll cliché, remorselessly blending Iggy, Mick, Bowie, Marc Bolan and Johnny Rotten into a light, frothy frappé of sex, violence and coked-up come-ons is, at the very least, consistently amusing -- and even better, surprisingly tasty.

Opener "Glisten" is anybody's masterpiece.... This instrumental brings so much anticipation to the rest of this record, it's no wonder I'm partly disappointed with The Listener: Gelb can't and doesn't deliver a dozen more songs like "Glisten".

While the album's bouts of strangulated sexuality are initially stirring, this lack of melody eventually dooms Do Rabbits Wonder? to wallow in a torpid swamp of half-formed ideas and analog squall.

Rarely has rampant misogyny and self-hype sounded as fantastic as this.

If you like it fast and rough and dirty, this one's for you

His most diverse collection of songs to date.

The album, while competent, is thoroughly flawed.

Surgery is quite an impressive effort, sporting just the right combination of nods to their influences and carefully balanced instrumental execution.