"Picaresque" is by far the Decemberists' best work to date.

Elliott brings a seen-it-all authenticity to this repertoire while Joe Henry's sympathetic production (aided by guest appearances by Los Lobos' David Hidalgo and Van Dyke Parks) is pitch perfect.

A mature effort that shines with nakedness and clarity.

The finest work of this talented individual's solo career thus far.

A new high point for the already accomplished Walker.

Endearing sour trumpet and recorder notes on uptempo tracks like 'Judy and Her Dream of Horses' and a stunning 1998 version of 'Slow Graffiti' capture the essence of early Belle & Sebastian, while the four unreleased songs from 2001 find the group experimenting with funky, spoke-sung vocals ('Shoot the Sexual Athlete') and haunting atmospherics ('Nothing in Silence').

An aurally hypnotizing collection that is comparable to, if not better than, Endtroducing.

Employing layered guitars, probing bass lines, and the occasional synthesizer swoon, Interpol creates an homage to their particular vision of the '80s that stands proudly alongside the best of its idols.

The back half is all over the place, prone to the sort of detours that seem designed solely to show off Mos' scope, like the all-Spanish throwaway 'No Hay Nada Mas.' Still, when's he's on, which is more than not, Mos is refocused and seemingly rededicated.

It can be seen as a return to form (epic songs, blistering guitar work) and a step in a new direction (rough-around-the-edges production, layered percussion).

Showcases Nas' incredible talent as a lyricist and social commentator.

Beautifully strange and richly tuneful...

A masterwork from one of the genuine lights in rock music.

When these guys avoid the occasional regrettable extended downshift in tempo, the angular yet danceable set combines a mixture of menace and fun volatile enough to hint that their live shows must be irresistible.

In the end, the group proves that its unflinching lyrics and memorable melodies are well suited for songs about warring lovers and war itself.

The melodic yet dissonant sea of guitar attack Burma brings to the table sounds arguably more relevant today than it did 20 years ago.

While he still relies heavily on old-timey melodies and washes every instrument with classic delay, the set feels more alive than usual.

A guileless, brutal breakup album that can sit with the best of them, set to the sounds of music's finest early rock moments. [17 Mar 2007]

Like debuts from Zero 7 and the Avalanches, Melody A.M. is well-situated to sit pretty in many critics' annual top 10s come December.

[The Bad Plus] aren't exactly reinventing jazz, but they are up to the task of aggressively disdaining genre conventions, in terms of upending arrangements, going with eclectic programming, and revamping their instruments' respective roles.

While her introspection and understated approach bog things down at times, songs like "The Dreaming Road" and "King of Love" are finely crafted and often hauntingly beautiful.

Well-produced, albeit predictable.

While the all-original material is not strong enough to qualify this as the instant classic some have suggested, heartfelt tracks like the jubilant "Delirious Love," the rousing "Hell Yeah" and the string-tinged love song "Evermore" are outstanding. [12 Nov 2005]

It's the detail and charm listeners have come to expect mixed with these welcome surprises that keep Actor exciting.

"Shut Up I Am Dreaming" is a grower, and doesn't grab you by the ears like Wolf Parade's debut did.

The Black Keys play the kind of raw, sensual blues-rock that makes you want to hide your girlfriend and warn your mom.

Thought-provoking and masterful, God's Son finds Nas finally realizing his full potential as an MC.

Sleepy and soulful, Can Our Love . . . is delightfully powerful in an understated way.

Nonsensical lyrics about butterflies and name-changing lovers on tracks like 'You Go On Ahead (Trumpet Trumpet II)' and 'Apollo And The Buffalo And Anna Anna Anna Oh!,' could serve as a distraction, but the songs are saved by beautifully frantic instrumentals.

Weird, and often wonderful. [22 Oct 2005]

Some of the record gets bogged down in its own deliberate weirdness.

Chock-full of glockenspiel, keyboards, hand claps and boy-girl harmonies, Youngster is playful and fun.

Although the album tends to meander at times, with too many similarly arranged tracks clumped together, the individual highlights here are inspired enough to make "The Covers Record" a unique work in its own right.

Live at Shea rather remarkably captures the band conquering the soon-to-be-demolished stadium, turning the cold, sprawling space into a sweaty Brixton club.

Cox followed his muse and ran with it, and what resulted is a collection of music that's as intriguing as its creator.

Another winner full of eerie beauty and restraint.

Its most difficult and uncompromising album to date.

Greater than the sum of its parts.

While that culinary theme and a running subplot consisting entirely of B-movie sound clips threaten to take over the record, Doom's gravelly, off-kilter flow holds the power to bring the gritty, underground hip-hop back into focus.

His least demanding work ever, steeped in the traditions of pop and rock.

"The Shining" documents the totality of who Jay Dee was as an artist and performer.

The Stripes have never had so much fun. [23 Jun 2007]

The follow-up to Antony's acclaimed 2005 breakthrough album, "I Am a Bird Now," is perhaps only a less astonishing listen in light of the artist's growing reputation.

A crowning achievement.

"Kid A" immerses listeners in an ocean of unparalleled musical depth. It is, without question, the first truly groundbreaking album of the 21st century.

The appearance of Hood's dad, legendary session man David, gives parts of Murdering Oscar--even within the Southern-rock storm and Hood's charcoal vocals--a sweet, possibly unprecedented sense of tranquility.

The duo's current sonic incarnation favors melody over mayhem, and all the better for it.

Yet, for all of its strengths, the monumentally somber "Cedars" does suffer from a few ill-conceived pieces, like the needless, patience-trying "It's All too Much" and the abstractly rhythmic "Treat Yourself With Kindness."

Though far from groundbreaking, "Destroy Rock & Roll" spotlights an artist who has a knack for cleverly referencing music that has come before. [11 Feb 2006]

Throughout, Kozelek connects memory to emotion with masterful strokes.

The only problem with this crackling sampler is that it clocks in at just 34 minutes.

Few songwriters can express these mundane intricacies of melancholia free from morose affectation, but Rouse's heartbreak and hurt sounds honest and natural, inviting you to share his pain.

RJ's solo work transcends hip-hop boundaries, and at its peak moments, is better described as much closer to soul.

Barnes' bright-eyed, bushy-tailed vocals are at times trying, but there is substance and craft behind the unrelentingly catchy ditties.

The b-b-beat continues on Hey Hey My My Yo Yo. In fact, the songs here are more catchy, and yes, more fun.

The type of minimalism employed by Xiu Xiu creates masterpieces of avant-garde restraint that truly haunt the mind.

"Me First" is an easy listen, but Sennett is not nearly as captivating a leader as Rilo Kiley's Jenny Lewis, and the coming-of-age tunes aren't always strong enough to account for the album's lack of tempo change.

The music is stripped-down but robust, with de la Rocha on vocals and keyboard and Theodore on drums.

It's difficult at times, though, to pick out one song against another and some tracks are too same-y or too heavy-eyed for a second glance.

"W" does have a few flaws, namely "Conditioner," which features Snoop Dogg and is the only track graced with Ol' Dirty's presence. Despite his trademark voice-cracking inflection, the Dirt Dog's verse sounds as if it was recorded over the phone, detracting from what could have been another Wu banger.

The result is a flawless blend of sunny pop, Motown, blues and jazz with the cleanest production in Camera Obscura's catalog.

Though accenting the vulnerability her vocals naturally possess, she manages world-weary honesty and summoned strength rather than contrived sentimentality.

The songwriter's fondness of esoterica makes "Pig Lib" a trying listen; even the song titles can elicit an eye roll.

On the 14-track "Mama's Gun," Badu mixes a little rock, some jazz, and a whole lot of soul.

An album whose enviably assured vibe pretty much drips out of the speakers.

A song or two with a bit more oomph would have been nice. [28 Jan 2006]

Harvey's mostly bare arrangements, stark vocal delivery and razor-sharp lyrics add up to a poignant, haunting rumination on what makes--and breaks--a life

Easily the most likable and listenable jazz album of 2007. [12 May 2007]

Saturnalia, is teeming with the kind of raw and gritty music one might expect to hear kicked around in, well, the gutter. And considering the project is a collaboration between Mark Lanegan and Greg Dulli, that's certainly not a bad thing.

Dan Auerbach has veered off the garage-rock path now and then throughout the Black Keys' career, and this solo debut reaffirms that he's no one-trick pony.

A stronger, more distinctive album than its predecessor in nearly every respect.

A wonderfully ambient collection of 10 songs

"Wonder" isn't as immediately accessible as any New Pornographers album, which may turn off some fans looking for another set of sugar-coated rock. Nevertheless, these compositions also demonstrate Newman's immense talent, which ensures any monotonous patches on the album are quickly redeemed by far more interesting sonic departures.

While the self-imposed constraints limit the emotional power of songs like "Mary of the Wild Moor" and the hushed, fingerpicked "Manson Twins," it's a happy addition to Pajo's solid lo-fi repertoire.

Imagine the B-52's playing a wedding in Siberia and you'll have a loose idea of what's in store on these 14 tracks.

Raw and emotional.

Right off the bat, you realize this is serious music for serious listeners.

The Con a welcome addition to summer playlists and to Tegan & Sara's promising catalog.

It's only a matter of time before [this album] replaces Ray Lamontagne's "Trouble" as the best album Van Morrison never made.

"Solitary Man" may lack the immediate impact of its predecessors but is no less a masterpiece.

As each quiet-loud-quiet song cycles through its emotional peaks and valleys, the band considerately adds, subtracts and multiplies conflicting elements and melodies to complete the picture. [24 Feb 2007]

Sweet and pretty. [25 Nov 2006]

I'll Be Lightning is a low-key charmer.

Beautifully spacey and searingly brash all at once.

Elevates their brand of art-house hip-hop to another level.

Talk about bleak. [24 Mar 2007]

The air of uncertainty and doubt he creates is what continually makes his music so intriguing.

Party Intellectuals contains enough noise and/or dead space to ruin the flow of many an iPod shuffle, but experimental jazz or avant-garde fans should find enough here to sink their teeth into.

"Okonokos" delivers as powerful a wake-up call to the ears as seeing MMJ in the flesh.

Elsewhere, 'Criminal' and 'I Will Not Apologize' find the group making its most acute, nail-driven points in years.

Swirling, throbbing and altogether great. [19 Nov 2005]

Furr is a more consistent body of work, a perfect fall soundtrack rife with woodsy imagery.

Put [the covers] all together and you get an idea of Low's surprising range and versatility.

"Antics" is even better [than Bright Lights], possibly because the band isn't trying so hard to be weird.

Despite her co-conspirators, LaVette proves again that she's the star of the show.

The lyrics hold their own as comedy poetry, and the album as a whole is stuffed with feel-good laughs.

It's an intriguing, somewhat surprising collection of tunes. Oftentimes dub projects can be anchored in a recurrent groove, but Page has created a group of tracks that are quite distinctive.

The overall tone of the album isn't entirely dark and hopeless, although Lightburn fails to leave us with any specific resolve, instead content for some questions to remain unanswered.