Two years after their trippy 2008 album with Danger Mouse, the Black Keys went back to basics and released their self-produced, blues-fueled breakthrough.
Like a greatest hits album from a parallel universe, Radiohead's latest has fan favorites, an actual guitar solo and more humanity than they've shown in years.
Weezer's tenth album is like a 'Star Wars' sequel: You hope it reminds you of the early stuff and avoids the trappings of the iffy follow-ups. But does it?
Coming back from a bus accident that nearly killed them, Baroness unveiled 'Purple' – an album about resurrection, in both word and deed.
Deerhoof always sound like they're about to fly off the rails, and their unhinged interplay thrives throughout their first live album.
Chris Walla's first offering since leaving Death Cab For Cutie sees the guitarist-producer stepping away from traditional pop in favor of ambient minimalism.
Released just two months after their last album 'Depression Cherry,' Beach House's surprise new full-length is not to be confused with a leftovers collection.
Easily their most polished, the fifth proper album from Wavves nevertheless prove just how much they're capable of saying in under three minutes.
On their first album in seven years, Josh Homme and Jesse Hughes once again offer up another slice of unadulterated (but clever and richly arranged) fun.
This time around, the Soundgarden frontman breaks new ground by blending rustic British folk, vintage American folk-rock and light electronica with pop.