Between the pounding pianos and the non-stop wave of arena-ready power chords and driving drums, most of "The Wolf" sets a new standard for fist-pumping anthems.

She is grappling with issues of faith, but she is charmingly skeptical. [28 Jan 2006]

The Stand-Ins feels looser and breathier than "Stage Names."

"The Life Pursuit" continues B&S' growth into more of a timeless pop act, its wry eye toward U.K. life refocused into tighter, swifter arrangements. [11 Feb 2006]

"Guero" explores all of Beck's influences and revisits so many of his finer ideas. It's not the cheeky soul-funk orgy of "Midnite Vultures," but something more mature.

This is a surprisingly homogenous set of tunes, and on the whole, the album can make for a rather repetitive listen.

A feisty set of primarily thrash-hop covers of socially and politically charged hip-hop, pop, rock, and punk jams.

"Mighty Rearranger" isn't great, but it's awfully good, and if Plant's voice has faded slightly in power over the years, it's still remarkably strong.

Not that the band's blend of metal; world music; jagged, breakneck rhythms; and non sequitur lyrics don't still connect, but it is nowhere near as dazzling as it was on its first two go-arounds. [26 Nov 2005]

In lesser hands this collection of country classics might have been badly mishandled, but in the willing arms of traditionalist extraordinaire Patty Loveless and producer/husband Emory Gordy Jr., the past is brought to new life.

The Oklahoma singer/songwriter and multi-instrumentalist raises eyebrows from the get-go on his 16th solo outing, dipping into jazz for the gently swinging 'Who Knew' and the self-effacing 'Former Me.'

Revels in dirty guitars and fuzzy distortion while maintaining Depeche Mode's familiar electronic sound. [22 Oct 2005]

The 2005 version of QOTSA finds the band more relaxed and loose than it has ever been on record.

Costello's vocal range is challenged like never before, but his phrasing is always on the money, and Joe Henry's production makes it all sound so natural.

Even when you can't understand what he is breathily crooning, Prekop is a master at setting just the right mood.

It's a pleasant enough, if uneven work. [14 Apr 2007]

Busted Stuff is marked by luxuriously long tracks that maximize the skills of the band.

Another pleasant helping of sweet headphone pop.

Sure, McKay is a sonic chameleon, but perhaps more important, she is one deft (and witty) songwriter/musician. [14 Jan 2006]

A warm, enjoyable effort, but perhaps short on the Jews' best asset: Berman himself.

The group stays true to its avant-garde musical roots with Set 'Em Wild, Set 'Em Free, the noisier, louder follow-up to 2007's "Love Is Simple."

The sterling set is signature Sade.

This album leaves little doubt that when it comes to expressing the joys and heartbreak of life, few R&B singers do it as gracefully as Maxwell.

With accompaniment as varied as vocals from Ollabelle and Brazilian percussion from Mauro Refosco, White still keeps us off balance with rich, unpredictable textures ("Diamonds to Coal") that convey lost-in-the-backwoods disorientation ("Counting Numbers in the Air").

At least until that new Coldplay record drops, the Kaiser Chiefs have positioned themselves to hold the title of Baddest Musicians in the World With a British Return Address.

McCartney continues to surprise, opening this set with four of his best songs in ages. [17 Sep 2005]

A lovely set of pop-flavored neo-folk. [11 Feb 2006]

Virtuosity can be impressive without being particularly enjoyable, and it's hard to shake the feeling that for all the potent-as-ever prowess here, Death Magnetic is more a stamp of authenticity than a complete record.

Ghost sounds so together that even its nods to jazz fusion and prog rock sound utterly convincing.

An album that would have been great in 1983; now, it is more of a nostalgic lark.

Bejar may consistently tinker with his sound, but the output has been reliably solid, and Dreams is no exception.

There's more melody than usual to be found here. [24 Mar 2007]

Nothing can quite match the in-person thrills of the current Daft Punk live experience, what with the robot costumes, onstage pyramid and body-rattling beats radiating out into the blissed-out faithful. But Alive 2007 comes pretty darn close.

There are certain instances when Francis' politics overreach, like on the annoying "Dance Monkey,” but for the most part, “A Healthy Distrust” is this artist's most impressive album yet.

"Springtime" could very well be the singer/songwriter album against which all others are measured this year.

A wonderfully offbeat blend of atmospheric folk and lo-fi rock that never fails to charm.... One of the year's most well-rounded and consistently satisfying albums.

A dreamy gem steeped in the tradition of '90s shoegazer rock.

With its broader musical canvas, "Blessing" may seem like a left-turn to diehard Truckerheads, but it's likely a wise move toward growing the DBT fan base.

Overall, a modest debut from a band that has potential for a mass following down the road.

The project's 14 tracks are still filled with well-made guitar and piano pop that only missteps when Finn and company lapse into whispery quietude for too long.

It's muted, but intoxicating stuff.

Nothing makes as quick of an impact as 'Crazy,' but give the tunes time and you'll find they stick around.

"Love Kraft" is as cohesive a record as the group has yet produced.

The Canadian quartet continues to polish its spacey, new wave-colored sound that's heavy with buzzing synths and echoed vocals.

While "Three" itself is only occasionally lively, thanks to Prewitt's strong grasp of sun-bleached summer music and '60s psychedelia, the disc overflows with good ideas and pretty little melodies.

Despite being assembled from such an array of concerts, the album brilliantly captures the continuity of a live performance.

Lucky is full of jangly little gems that could put a skip in the step of even the saddest of sacks.

The latest from this genre-bending Welsh band is largely a smoothed-out pop record, reining in some of Super Furry Animals' more left-field tendencies and tenderly nurturing the catchy, chart-friendly hooks of Gruff Rhys and company.

Here, T.I. shows he can still dominate a song given quality production (Just Blaze, DJ Toomp), but the album does little to build on what we have heard before. [1 Apr 2006]

At times compelling in its eccentricities, this record emphasizes experimentation rather than tunefulness.

Mac minions will find this electric-flavored, band-sounding album pleasing, but there's also the avant ambience that's Buckingham's stock in trade.

The group may still rely on catchy vocal refrains, but the growth of Lazzara's songwriting has made its fourth effort a brisk, enjoyable outing.

A timeless, feel-good album that could easily slide into your papa's Sam Cooke and Percy Sledge collections, yet still sounds contemporary.

Songs like 'Calm Like You' and 'Black Plant' positively swing, and despite the presence of a 22-piece orchestra, the lyrical bite and brisk pacing mean things never topple into cheesy pastiche. Moonlighting hasn't been this much fun since Bruce Willis had hair.

Along with absolutely stunning MC'ing across the board, "Quality" heralds the long-awaited return of the DJ to street hip-hop.

An artistic experiment that stretches the band's sound while meditating on the film's menacing malaise.

"Machine" is ultimately flawed when the Kahuna boys abandon uptempo techno for atypically hymnal pastures.

Though a few more lively tunes would've been welcome, October Road marks the return of an artist who is as creatively vital as ever.

Fun, thoughtful, and dynamic-

A relevant addition to System's catalog.

Oberst's fourth full-length is a bleak, bipolar journey through his emotionally charged mind, with melodramatic midnight ballads, dusty piano, and the occasional sexy violin.

Finds her pushing her already considerable talents to new heights.

Even Björk's misses are more exciting than most of what we currently call hits. [12 May 2007]

A milestone effort.

Although little on Hymn and Her finds Earlimart venturing into new territory, there's a familiarity felt throughout that remains comforting, and sometimes that's just enough.

With Steve Turner's guitar a buzzing hangover and Mark Arm snarling with irresistibly creepy restraint, Mudhoney's eighth studio album finds the band rocking like it's 1988 . . . or 2008.

[It] flashes with moments of greatness. [9 Dec 2006]

Although much of the album is about saying goodbye to the past, Morrison uses the performance to breathe new life into the songs with a band that can follow anywhere he leads--jazz, folk or soul.

The Hold Steady's first live disc (and documentary DVD), recorded in 2008 at Chicago's Metro, is a raucous 17-track scorcher that finds Finn's speedily spat monologues working surprisingly well onstage.

Henry's superb Civilians succeeds not only as a melodic collection of poignant short stories, but also as a potent picture book of America gone wrong.

In her bid to be a little bit of everything for everyone, some of the unique flavor that has made her a star is sadly diminished.

Its most fully realized set to date.

Release couldn't be more lovely if it tried.

The third in a trilogy of introspective masterworks sees no decline in genius but an uptick in rockability. [20 Aug 2005]

The first half of "Living With the Living" offers well more of everything that's made Leo and his Pharmacists such post-punk studs. [24 Mar 2007]

The dabbling in different sounds and textures results in a surprisingly cohesive effort for DMST, and one that successfully sustains interest throughout. [3 Mar 2007]

A number of songs significantly pick up the pace for a change. [12 May 2007]

Joni Mitchell's first album of new material in nearly 10 years is a return to the form that made her a star.

The threesome is best when trading verses and flaunting its ample talent on strummy singalongs like 'Just About Time.'

Santogold pours all that experience into a bracingly eclectic set full of fuzzy New Wave synths, sticky avant-soul melodies, busted-laptop beats and sing-song vocal chants inherited from the likes of Neneh Cherry and Björk. If you've managed to avoid her until now, you won't be able to for much longer.

Those in the know can attest DF is merely coming into its own after years on the touring circuit.

The miracle of Aterciopelados is that it backs up its message songs with beautiful, infectious music. The Colombian duo's latest, Rio, is no exception

The concept behind Simply Grand was to pair Thomas with a different star pianist on each track, and the results are mostly stunning.

Proof draws its energy from dizzyingly tight full-band interaction, indelible melodies and deft arrangements that find fresh inspiration in Ian Parton's favorite sounds

Remains in the tradition of his previous releases, offering a combination of witty rhymes and unforgettable hooks.

If there was any justice, songs such as "Let the Serpent Sleep," "Three Seeds," and "The Creature" would be blaring from radios across America.

A treasure trove of musical curios.

[Atmosphere] has never sounded as pointed and focused as it does here on its fifth album. [8 Oct 2005]

Paul Weller's all over the place with his ninth solo album--he visits all his touchstones, but there's less nostalgia and more experimentation infused into the tracks than usual. And that's a good thing.

If Tangiers perfects its poppier maneuvers and smartens up a bit lyrically, something special could be down the road. [10 Dec 2005]

By scaling warm guitar lines, keen melodies, and a valuable sense of history, these Sparks continue to fly.

Beautifully fatalistic and unimposingly pedagogical, Brainwashed is quite possibly Harrison's next-to-best album and a sober reminder that his passing is a loss too large to measure.

If this is indeed a swan song for Brooks, it's like calling it a career with a championship-winning shot at the buzzer.

Drawn From Life features some of Eno's most tightly structured and accessible music in years.

Although this is not Buckner's masterpiece, it's a beautiful window into the head of someone who writes from the heart.

For the fan of fictional party rhymes, there's 'White Linen Affair (Toney Awards),' where Ghost lines up the current roster of hip-hop royalty and takes his place strong in the middle of it.

Object 47 is at once warmly familiar as Wire yet not a "return" to any particular sonic period in the group's convoluted history.

Sia's songs are quiet, intimate and melodic. [21 Jan 2006]