The album clatters out of focus in a pleasing fashion.

It’s still a strong album with several standout moments, but these great moments are often hampered by the inchoate themes and parched ideas surrounding it, making the album feel at times unfinished.

Even though it might not rank as essential Brian Jonestown Massacre, Revelation is a lovely experience.

This time around, deprived of their usual energy or lyrical quotient, they are nothing more than a momentarily likable diversion.

On paper, not a lot differentiates Saintseneca from the glut of indie-folk bands that saturate the scene. Unlike the rest of the crowd, however, the band offers up an unparalleled sense of wonder within each song.

Considering what kind of experiment this was, it turned out pretty damn well.

The result is an album that is being asphyxiated by an extremely strong hand, and that proves to be the death of it all.

Musically, he moved in a slightly different direction that works more often than not.

Don’t rock up to this one expecting some life-changing epoch. Just roll with the punches.

As a Lily Allen record, it’s a sneering, vapid imitation: a Lily Allen stereotype.

Sonically, Nikki Nack is a joyous record which sees Gabril bursting at the seams with restless energy and tremendous creativity.

The best parts of classic rock find a home in Holy Vacants without ever seeming forced.

It's undoubtedly his most impressive collection of songs in over two decades.

Mainstream baiting notwithstanding, With Light & With Love is the best Woods record yet, a tinkering of the charmingly sincere folksiness of Bend Beyond into something even more muscular and full-bodied.

There aren't many artists who can deconstruct and rebuild such interesting tracks equally based on both disturbing and exquisite soundscapes, yet Fennesz continues his winning streak.

Behind The Sun is an early contender for the best heavy psychedelic album of the year, and a mandatory listen for any rock fan.

Tremors finds time to be adventurous with its feet firmly planted on the ground; it moves maturely.

The record offers moments, candid and clear, of Rowe before the fame that'll surely head her way. It’s an opportunity to see what this artist is all about today.

Truthfully, Super Collider is just a Megadeth album born of complacency and issued with only the faintest interest in remaining relevant.

Midnight Memories takes the slight progression of Take Me Home and demolishes it.

The cheesiness, loads of filler, and overly glossy production are still present and hinder much of what the album had the potential to accomplish.

Overall, Days Go By ends up as a solid record only because there are traces of The Offspring again and not a band that tries to copy others.

In the end, iTRÉ! is unexpectedly the strongest record overall of the three. Although it has its own issues, these don't drag that much the whole affair down and there aren't any horrible missteps such as "Nightlife".

In its simplicity lies a uniquely Eels beauty, realistic and wise. It may be unsure, yes, and there’s certainly some fresh horror around the bend, somewhere, but perhaps that future is more promising than what came before.

There isn’t as much outright variety as there was on Impossible Past, but there are subtle refinements that make Rented World perhaps the most musically solid album the band has released.

There are certainly a few noticeable misses (such as the overwrought ‘Ready to Lose’), but the occasional home runs are more than enough to offset those moments.

It is all about being strong. It reaches out and tries to help make sense of it all. It's a comforting empathy. The stories are intensely personal but are so easily transferable beyond their original inspiration.

Music For Robots functions as the first embarrassingly terrible album of 2014, and should be avoided by all except those with an extremely morbid sense of curiosity.