The Manic Street Preachers temporarily retreat from the fight and go into the realm of safe pop rock, Jack White explores the full extent of his quirkiness and musical taste, Led Zeppelin goes folk, and Nico makes her musical debut under the mantle of orchestral pop.
First Aid Kit succeeds once again in integrating indie with country, Franz Ferdinand dives further into dance music, The Breeders reemerge with a generally uninspired effort, and The Decemberists throw synthesizers at their identity crisis problem.
PJ Harvey calls upon the ghosts of England, the Pixies close out their classic era, The Smashing Pumpkins engineer a perplexing musical achievement, and The Doors find their greatest work in the arms of unadulterated blues.
Patti Smith challenges the artistic limits of the punk movement, Elvis Costello polishes his cannon of vitriol, David Bowie finds his artistic footing, and The Cure explore the poppiest side of post-punk.
U2 runs to stand still, Neil Young produces an inconsistent album whose message is urgent and necessary, Noel Gallagher’s High Flying Birds fly to new sonic grounds with mixed results, and The Smiths flesh out their sound and song-craft.
Liam Gallagher releases a surprisingly consistent record, The Raveonettes mix pop melodies with layers of feedback, Sonic Youth reconnects with its more accessible side, and Tom Waits brings a masterful trilogy to an excellent close.
Foo Fighters release a weirder but still safe record, The Killers fail to deliver a true collective effort, PJ Harvey and John Parish perform a joint experiment with mixed results, and The Shins dive into electronic elements without losing their essence.
Queens of the Stone Age amplifies the hip-shaking quality of their sound, The National dives into relationship troubles and politics, The Strypes discover new wave, and Tame Impala revives the Summer of Love with some psychedelic introspection.
Arcade Fire takes another unproductive dive into the well of synthpop, Lou Reed finds a rather distinctive songwriting style in the bleak reporting of the destructive life of a couple, David Bowie creates and kills a rock and roll myth during the course of an album, and Iggy Pop emerges out of the wreckage of The Stooges’ implosion in the most unexpected way possible.
Big Star brilliantly nods towards the British Invasion long after it had become part of rock history books, the Beastie Boys prove classroom jerks can be widely beloved when their wit and musical talent are remarkable, Paramore start to pave their way out of the pop punk cage, and The Last Shadow Puppets bring drama and subversion to baroque pop.
Nintendobound 