The gem of this old school-flavored set is its low-key grooves that rely on thought-out storylines and not just sweet-talking jargon. [18 Feb 2006]

"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]

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

A delicious blend of acoustic guitar, raw grooves and sublime melodies. [11 Feb 2006]

A good-time, classic rock feel permeates [the album]. [11 Feb 2006]

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]

Train sounds refreshed and relaxed on "For Me, It's You." [4 Feb 2006]

The trio has fine-tuned its sound, making it more complex and compelling. [14 Jan 2006]

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

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

As personal as the album is, there is a universal quality to Cash's songwriting that will make listeners embrace the intimate feelings here as their own. [18 Feb 2006]

A strong effort that trades sunny-sounding rockers and breakup songs for weightier concerns of war and family, "Lights" conveys that maturity without seeming strained. [28 Jan 2006]

Fans of Queens Of The Stone Age, and to a degree Death From Above 1979, will probably be attracted to "The Indian Tower," but from the get go, there are noticeable differences that make the album a unique contribution.

Songs of losers and loss tempered by only a taste of wry humor.

It's hard to take the band too seriously, but the songs are debaucherous fun. [14 Jan 2006]

Despite undeniable similarities to other bands that arrived at this party earlier, this album lacks pretension and self-importance. [21 Jan 2006]

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

"Guerolito" proves that remixes do not have to work solely for dance crossover: They can give a well-received album new legs among its original fans, too. [17 Dec 2005]

A wonderful disc. [3 Dec 2005]

The utilization of American hip-hop scenarios in the context of the English slang is exactly what makes "Coming On Strong" such a unique listen.

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]

Like instrumental masters Tortoise, the new Tristeza is much like the old, offering subtle variations on a pleasant theme.

This is a live album the way it ought to be produced: sincere and surprising, a true alternative to your well-worn copies of the studio recordings.

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

One of America's greatest bands has never sounded better. [19 Nov 2005]

Despite her prolonged absence, Bush sounds as vital as ever.

7 This is Chesney doing what he does so very well, and his legions of fans will eat it up. [12 Nov 2005]

Easily the radio-friendliest set ever from the Phish camp.

Stronger than not and off-kilter enough to remain engaging even when the skits come on, "Theloneliest" might not have been worth a five-year layover, but it's weird and wide open.

Flecked at every turn with Kozelek's unique interpretive bent, "Tiny Cities" is a triumph.

One of the year's best. [29 Oct 2005]

"Feels" is by far the most agreeable Animal Collective yet, but whether or not that's a good thing is for you to decide.

It is a testament to Mike Sandison and Marcus Eoin's production acumen that the songs here sound so organic despite their computerized origin. [22 Oct 2005]

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

Weird, and often wonderful. [22 Oct 2005]

With constant acknowledgement of imperfections, Simpson separates herself from the peppy Lindsay Lohans and Hilary Duffs. [22 Oct 2005]

A welcome return. [22 Oct 2005]

A hauntingly beautiful album with tender, melodic pop arrangements that really make a lasting impression.

Lyrically, Doom hasn't sounded this vital since Viktor Vaughn's "Vaudeville Villain."

It still has the signature guitar-drums-violin approach, but there are subtle variations that make this a different record.

Time has not dulled the group's scarily tight musicianship. [15 Oct 2005]

This self-assured, illuminating "MTV Unplugged" performance underscores Keys' boundless passion for her craft. [15 Oct 2005]

With a less confessional and more confrontational attitude, this long-gestating album has lost the tenderness found on "Tidal" and some of "When the Pawn . . .," but her execution still commands attention. [8 Oct 2005]

A richly textured collection of songs that further explore the possibilities of the group's grooving dream-pop blueprint but stays just weird enough not to attract the ear of mainstream radio.

The band's evolution is not without growing pains, but the balancing act of appealing to core fans while reaching for something more is mostly successful. [8 Oct 2005]

A bold leap forward. [8 Oct 2005]

[A] pleasant surprise of an album.

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

Although Metric might get lost in the ongoing mainstream melee, "Live It Out" has all the right ingredients for building a strong underground fan base. [29 Oct 2005]

Less polish and more attitude are welcome changes that fire up the rock numbers and give them more snap. [8 Oct 2005]

There is enough of the original DNA in the mix to make this a worthy listen for fans. [1 Oct 2005]

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

A provocative, richly rewarding set reflecting love and life changes. [1 Oct 2005]

A winning result.

A fine, quirky entrance that hints at a band poised for bigger things down the road.

Beyond the bombast, Wilson has personality and soul to burn, and her impact on country music is going to be felt for many albums to come, starting here. [1 Oct 2005]

Musically and lyrically, "Clothes Drop" is more pop-oriented, melodic and restrained, and is all the brighter for it. [24 Sep 2005]

The album distinguishes itself from Chapman's previous releases with its stellar studio band and its refusal to submit to pop production. [17 Sep 2005]

Even with the added string section, Gray has not lost his knack for combining lovely melodies with bittersweet lyrics. [17 Sep 2005]

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

An adventurous change of pace that stretches Raitt beyond her previous recordings. [17 Sep 2005]

While there are no surprises in its technique or approach, Sigur Rós has succeeded in making a startlingly beautiful record. [17 Sep 2005]

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

There's not a clunker on "The Weight is a Gift," even if the band never veers far from the indie comfort zone of vague melancholia.

Yearwood can pack more feeling into one line of a song than most artists can on an entire album, and the material on "Jasper County" gives her plenty of opportunity to work her magic. [17 Sep 2005]

Throughout, he manages to dip into old-school doo-wop sounds, grand orchestral ballads and Johnny Cash-inspired country anthems, not at the same time, but almost within their own little worlds.

"Electric Blue Watermelon" consistently demonstrates that they have arrived at a place where their special feel for hill country blues and their Southern rock sensibilities are in sync. [10 Sep 2005]

Rock music this substantive is increasingly rare, but "Plans" delivers beyond expectations.

By the end of this 21-track opus, you still might not like West's self-assured declarations, but you will not be able to deny his talent.

The group has already produced a barrage of great singles, but this time around, it digs in its collective heels for a worthy album, allowing the songs, and not just the musicians, to shine. [27 Aug 2005]

While the batch he's cooked up on his the latest LP... stays true to the songwriting formula that has gained him over a decade of accolades, "Bright Ideas" does, in fact, find McCaughan at his most sonically expansive to date.

Anyone expecting something akin to a new Björk studio recording may not enjoy "Drawing Restraint 9," but taken at face value, the disc is a rewarding sidestep. [27 Aug 2005]

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

Hatfield tears through 12 songs, posturing and pouting over caustic guitars and leaving her singalong hooks raw and unedited. [13 Aug 2005]

While lyrically his songs are top-drawer, Thompson's guitar prowess is also noteworthy. [13 Aug 2005]

Hill lets her vocal gifts soar on an outstanding group of songs. [7 Aug 2005]

[A] return... to more familiar territory.

A pleasing collection of midtempo songs and ballads brushed with, but not obscured by, a contemporary sheen. [30 Jul 2005]

One of his finest hours.

One would think the standard tension/release moments would get tiresome, but most of the album has an energy that makes you forget about anything that might seem redundant.

At first blush, Lanois' music is flowery wallpaper, but on repeated listens the colorful textures sink in and evoke a hushed mysticism.

The pair's knack for excelling amid a range of styles and approaches is even more apparent on "The Understanding," which resists the temptation to overtly court the masses.

It makes for a difficult listen but will be fulfilling for those who find their way out on the other side.

Though it could use some portion control, "The Cookbook" still whips up a tasty meal.

He doesn't break any new lyrical ground, but Kelly's talent for penning original, infectious grooves remains intact.

A brighter, bouncier counterpart to its wintry predecessor "Michigan," "Illinois" contains some of the most beautiful pop you will hear all year long.

A monumental step forward in the progression of the group's sound.

Lidell has a fine voice, arguably one of the most potent white soul singers England has given us since Primal Scream's Bobby Gillespie.

CYHSY is at the best point in the lifecycle of a band: un-styled, simply produced and deserving of the hype for what is -- quite possibly -- a nearly perfect album.

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.

Another eclectic musical trip.

Play[s] out like a fresh discovery that's strangely familiar--a '60s soul in a 21st-century outfit.

The band is now more of a collaborative project than a Jon Auer-and-Ken Stringfellow-with-hired-guns proposition, and it shows in the eloquence of the songs here.

While the lyrics are more introspective and the music more electronic than what we've come to expect from the Pumpkins or his most recent project, Zwan, thankfully Corgan's distinctive vocals and grungy guitar riffs are ubiquitous.

A masterwork of insight and delight.

His most inspired effort in years.

The real revelation here is their ability to show a more varied and at times vulnerable side to their sound.

Shakira, of course, is unmistakable. But the coup is that each track is absolutely distinctive, even on several songs with no clear-cut choruses or hooks.