This may not be their best offering, but it's a truly fine record that offers plenty in the way of satisfaction.

The stylistic similarities are pretty undeniable, and not necessarily to Josiah's advantage--but the elder Wolf has enough of a distinct voice (and enough to say with it) that Why?'s fans will definitely want to give it a listen--and those who find Yoni a bit too dizzyingly cerebral might take more kindly to Josiah's sincerity and directness.

Outside of the Bacharach album, it's his best in a long time. But in order to know that, you will have to have dilligently listened to everything from Spike on -- and if you got off the bus around then, it's harder than ever to get back on.

A string of songs that, like Luna, hints at greatness but never seems to choose the fork in the road that might take them there.

Milian's weakness remains ballads; the few that are here are more like placeholders that merely apply some forced variety to the album.

It gets closer to the spirit and sound of what Hucknall loves.

This is the kind of album that appeals primarily to hardcore fans looking for a new spin on the familiar; in other words, this is unlikely to convert EDM listeners to the pleasures of Linkin Park.

To a large extent, the music on Shine a Light confirms this to be true, proving that the band retains a remarkable alchemy that has deepened over the years.

Though Bullet for My Valentine still have just enough post-hardcore and screamo in their sound to keep metal purists from coming completely around to their way of thinking, Temper Temper feels like a gateway album into thrash.

It's as much of a prank as an album, but after over 20 years as one of America's most consistently rewarding indie rock acts, Yo La Tengo are entitled to a bit of fun.

September Girls sound like a copy of a copy of a copy, not quite reaching the heights of their immediate predecessors, let alone the classic bands they're all aiming for.

Generally the polished punch of Wood's work pushes Love Is the Great Rebellion into sunny positive pop, the kind of album that can double as motivation or pleasing background music for the office.

His authoritative vocals demand immediate attention and his brutal array of battle rhymes are utterly breathtaking.... While the pugilistic MC shows growth as an artist, Canibus' vast potential remains largely unrealized thanks to bland production.

By and large, Heaven Is a Junkyard finds Powers in pastoral mode. Even in its most orchestrated moments, the album feels primarily reflective and still, like Powers is gazing out on a silent field of wheat and offering us a look into his brain as the thoughts, memories, and scattered hopes all float by.

While those already enamored with McCombs' lyrical approach and subdued songwriting might find more of immediate value here than the uninitiated, there's a lot to sift through, even for fans, and it might be difficult to keep focus through the entire sometimes befuddling set.

Ten singles--these voices could have used some better material--but the album will likely please most of the fan base, as it is a rather skillful update of the familiar.

Fans of the early dream pop stuff may have difficulties accepting a cleaner, more synthesized pop approach.

O'Brien helps them articulate their ideas, giving them definition and muscle, attributes that are appealing when the songs lack distinct hooks.

His hardcore following will no doubt celebrate it abundantly. Given its willful indulgence, however, others may find it a tipping point in the other direction.

It isn't a disaster by any means--well-recorded, enthusiastic sounding songs are always a treat--but it's in the end pleasant, not striking.

They have nothing on their mind other than making basic, black-and-white modern rock, and they do so efficiently on Leave This Town, a sophomore album that's every bit as satisfying as the first.

The whole thing sounds good on paper, but in practice, it's a bit of a mixed bag.

Another handsome, shaded, and satisfying work from an artist that has reconnected with her muse.

This is music to listen to when you're either very depressed, in order to feel the camraderie, or when you're very happy, in order to mellow out.

While many will no doubt see this as an unfocused record, those who take it on more of a song-by-song basis will value it as a respectable addition to RZA's body of work.

Get ready for the hardcore fan backlash but Greater Wrong Of The Right at least makes up for The Process and with stunning structure from Key it beats most of the current industrial music competition.

Some of these songs are familiar, but these arrangements are distinctly Weller's own, and it makes for an effective listen -- maybe not a major effort from the Modfather, but an enjoyable one all the same.

An album that sustains a mellow, melancholy mood without quite distinguishing itself as a collection of individual songs. Then again, that's kind of the point of the album: it's a pensive soundtrack for a specific season, nothing more and nothing less.