Formed a decade ago as a side-project for Queens of the Stone Age’s Josh Homme and his childhood friend Jesse Hughes, Eagles of Death Metal, like The Raconteurs, have quickly become a riotously popular and profitable live act whose success threatens to overshadow the band-members’ more established groups.

The Cure’s thirteenth album, released after yet another four-year wait (since 1992’s Wish, they’ve been following the same schedule as the Summer Olympics—probably not intentionally) begins with a wonderful one-two punch.

Putting on a pair of headphones and listening to Forfeit/Fortune is like stepping into a weird museum—everything catches the eye and the constant wonder is, “How did someone put all this in one place?”

Dark Developments brings together Athens, Georgia musicians Vic Chesnutt and Elf Power in one of the most intriguing collaborations of the year.

Those who recognize Chairlift’s mesmeric single “Bruises” from an iPod Nano commercial will probably be surprised to hear the rest of the trio’s debut long-player.

I reviewed Pelle Carlberg’s last record, and I was halfway tempted to turn in the same review this time around.

As is the case with many avant-garde composers past and present, the material of Simon Bookish (aka Leo Chadburn) is simply too weird, obtuse, and left field to ever be popular outside of elitist art circles, let alone most self-described indie rock enthusiasts.

From the opening notes of debut Silent Alarm, Bloc Party has given the impression of a band that’s in it for the long haul. Silent Alarm contained a perfect balance of adventurousness and safety, the latter in the form of tightly constructed pop songs.

They’ve always flirted with dance music, with the best moments of their first two releases often driven by barbed guitars and angular hooks that were often underscored by a remarkably propulsive rhythm section that locked down airtight grooves.