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.

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.

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.

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.

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.

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.

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.

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]

A frisky set that rocks with more excitement than Ferry has exhibited in years.

Much of "Human the Death Dance" goes for something deeper—the sound of an artist afraid of what he almost became. [12 May 2007]

This stellar, adventurous album just may be the best thing they've attempted since 1989's "The Mekons Rock'n'Roll."

A melancholy gem of gorgeous, whispery folk and delicate countrified rock.

The trio's most complete effort since 1996's Stakes Is High.

Marah manages to convey the manic energy that makes it such a great performer, and the result is its best album yet.

Anyone who found the alien sonic landscapes of "Kid A" a bit overwhelming will feel much more at home with these nine less fussy but primarily electronica-dominated compositions.

A revelatory, emotional listen from start to finish, "With the Lights Out" crystallizes Cobain's tortured genius.

On this fine self-titled set (produced, as was the most recent 97's album, by Dallas-based Salim Nourallah) Miller works his familiar mixture of '60s-pop jangle and alt-country twang, singing about the highs and lows of love like someone who just experienced them for the first time.

For The Alchemy Index Vols. III & IV: Air & Earth, the material is appropriately lofty to represent the former element but surprisingly sparse for the latter.

Conor Oberst doesn't sound much different from any of Bright Eyes' acoustic material, except that it is lacking in the bare honesty of his earlier albums.

Pierce ties the dark to the light with poetic folk ballads like closing lullaby "Goodnight Goodnight," making A&E a strange and pleasing concoction of old and new.

Such uniformly dark material makes one long for a tune or two to lighten the vibe.

Overall, it's a solid, unashamedly honest portrait.

Though audibly relaxed in their freedom from the label system, the duo delivers a few real emotional stunners.

This new recording is richer and more daring in its arrangements and choice of material.

Watershed, k.d. lang's new torch-and-twang exploration, will hover delicately in the background of many a coffee shop, but it does little to elevate itself to a more conscious musical experience.

Similar to the artist's Under the Pink in tone and continuity, Scarlet demands repeated spins to fully appreciate its chapters' musical and lyrical complexities.

Guster's loudest and most ambitious effort to date.

Fresh and imaginative, "Anything" is one intoxicating recording.

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

Apollo Sunshine's third album is a delightful head-scratcher that explores old and new elements of psychedelia alike, from string sections, melting organs and echoey vocals to gritty, traveling guitar lines and lyrics about love and reincarnation.

"Myth Takes" ... should see the festive art-rock collective bop its way out of cult status, as each of the 10 cuts on this album adventurously cascade through genres without ever losing a groove. [10 Mar 2007]

Janet Weiss adds welcome flavor on drums and vocals, but overall, how much you enjoy rummaging through this Trash will probably depend on the amount of patience you have for the Malkmus' indulgences.

It is such a perfect counterfeit that it feels like the genuine article.

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

On "The Mirror Conspiracy," the duo fine-tunes its deft merging of all things dub, electronica, and bossa nova, creating sweet and savory tracks...

Whole New You easily rises above the din of the sound-alike pop and rock recordings currently crowding the marketplace, offering a plethora of complex yet sweet melodies and lyrics that are both smart and rife with empathetic emotion.