10. Goldfrapp - Supernature?
“Which makes this pretty much what you'd expect: the prime-time flagship of glammy electroid dancefloor pop, curiously expensive-sounding and accessible to all, but strangely stripped of the functionalism of the dance record and the full thrills of pop. Sometimes that lands it in the sweet spot. Just as often, though, it seems to have forgotten what in the world it was meant to offer in the first place.” [7.0/10.0] [Ooh La La (ram)]
9. Sleater-Kinney - The Woods
“Nor should anyone be shocked that, despite the new song structures, guitar solos, and drum fills, Brownstein's guitar still roars wildly, Weiss's drums still thunder, and Tucker still wails with a primal urgency that is one of the most compelling sounds in rock music today. What hasn't necessarily been made explicitly clear is that, even in the face of its cock-rock trappings, The Woods most closely recalls the righteous fury of their first great albums, Call the Doctor (1995) and Dig Me Out (1996). [...] To survive these days, you have to be either suicidal or superficial. Sleater-Kinney, meanwhile, get by simply sounding fucking supersonic.” [9.0/10.0] [Entertain (mov)]
8. Six by Seven - Artists Cannibals Poets Thieves
“But the really sad thing about this is that Six.By Seven absolutely fucking slay so many other bands comprising young men with black leather jackets and noisy guitars. Their contemporaries, although higher profile, simply don’t match up. Black Rebel Motorcycle Club? Fuck off, you posing pansies. Cooper Temple Clause? Too much hair "product." Six.By Seven were always darker, uglier, more committed. Better. And now they’re gone. Oh well.” [B] [Ready For You Now (mpg, from previous album '04')]
7. Kaiser Chiefs - Employment
“[T]heir first album, Employment, isn't in the same league as the debuts from either of [The Futureheads or Bloc Party]. One reason for this is that the band keeps the energy level constant over the course of the entire disc. There's plenty of variety in the material-- with different rhythmic feels and tempos-- but every song is approached with the same kind of in-your-face ebullience as the others, an approach that grows tiring. Still, it's deadly entertaining in bursts-- especially if you pick out the right bursts. There are a handful of potential singles that make Employment worth the trip.” [6.7/10.0] [I Predict A Riot (mov)]
6. Editors - The Back Room
“The Back Room puts its best foot forward with the first three tracks, played with more than enough verve to compensate for their limited borrowed palette. Vocalist/guitarist Tom Smith sings in a forceful but wavering voice, like Paul Banks on the edge of distraction. [...] Editors often imitate bands with dramatic vocalists like Ian Curtis or Ian McCulloch, but the best moments on The Back Room aren't the theatrical ones-- it's when the four of them are playing and discovering their own chemistry.” [6.0/10.0] [Blood (ram)]
5. LCD Soundsystem - LCD Soundsystem
“James Murphy makes great tracks. He isolates cowbells and places the microphone at just the right distance from the hi-hat so you get the analog-crisp sound post-punk bands took for granted because they didn't know how good they had it with engineers like Paul Hardiman and Rick Walton. Murphy, obsessed with Can and Liquid Liquid, has the right influences at the right time in the right city-- which is to say, if he couldn't be French, New York is the best place for LCD Soundsystem.” [8.2/10.0] [Losing My Edge (mov)]
4. M83 - Before The Dawn Heals Us
“After saying "au revoir" to longtime friend/collaborator Nicolas Fromageau, Anthony Gonzalez goes it alone for album three, upping the drama (there's even a track called "Teen Angst" 
by layering electro-acoustic sci-fi backdrops atop often-campy dialogue (written by his brother), and then buoying it all with by a massive noir choir. From the buzzing nighttime Blade Runner skyline of the cover art to lyrics investigating car wrecks and dislodged brains, this is a mammoth collusion of synth gasps and distorted swirls, darker and more urban than its meadow-bound predecessor. If Gonzalez had gone ahead with only epic Vangelis modulations, Before the Dawn Heals Us would collapse under hollow ponderousness. Instead, he weaves a rock backbone into his tangerine-dream landscape with steady doses of highly effective live drums, gigantic post-MBV guitar, and sharper, more defined songwriting that helps to beef up the diaphanous symphony.” [8.6/10.0] [Don't Save Us From The Flames (ram)]
3. Sons & Daughters - The Repulsion Box
“The Repulsion Box opens with several seconds of naked kickdrum hammering out a 4/4 stomp. The next 31 minutes are a headlong blur of scratchy guitar, Celtic and country influences, pounding rhythm, and Scottish accents, a brand of danceable Glasgow post-punk that actually makes a sonic point of its Scottishness. The adversarial vocal interplay of Scott Paterson and Adele Bethel provides a dramatic focal point for the band's thumping arrangements.” [7.5/10.0] [Taste The Last Girl (ram)]
1=. The Go! Team - Thunder, Lightning, Strike
“Thunder, Lightning, Strike's opener, "Panther Dash", wastes no time establishing the band's modus operandi: Its "Hawaii Five-O" crash-in mates with an open-range harmonica to evoke some lost Sergio Leone-directed "Speed Racer" showdown. "The Power Is On" pops like puffy rainbow stickers, rubbing determined piano chords against surly trumpets and cheerleader chants. "Junior Kickstart" is BMX banditos navigating mud-caked spokes and handlebars through flagged-off terrain. "Bottle Rocket" throws back to Saturday morning cartoons and Brooklyn b-girl breakdowns, with female rapper Ninja lunging from dusk-cast shadows to conjure a katana-wielding Sha Rock.” [8.7/10/0] [Bottle Rocket (ram)]
1=. Bloc Party - Silent Alarm
“Lead single "Banquet" is wonderfully tight and energetic-- the same kind of spiffy half-dancing rock as Franz Ferdinand's "Take Me Out" or Duran Duran's "Planet Earth". That's easy to pull off when you've got a drummer this good, and a bassist that locks in with him so neatly, whether it's for rock charge or disco hustle. That, in fact, has been Bloc Party's main selling point, apart from the whole Remarkably Competent thing: When the rhythm section stretches its limbs, they leap a good distance away from the straight-ahead eighth-note riffing of the others in this game. Filter in their timely post-punk moves, Bunnymen gestures, and pop ambitions, and you start to feel like this is what it might have been like to listen to the Police or XTC in the early 80s; the sound of a straight-up rock band just a shade more sophisticated, and a little more interested in rhythm, than most of their peers.” [8.9/10.0] [Helicopter (mov)]
Scary that I only know a few of those groups and those only because I know you. =P