The overall result lacks the ebony-hued cohesiveness and experimental flair of the debut set.

A challenging, yet highly rewarding listen.

"Geogaddi" finds the Scottish duo ever adept at pushing the boundaries of electronic music without abandoning the hypnotically pacific nature of their sound.

He just may be to indie rock what Springsteen was for rock'n'roll in 1973 -- a strong, original voice whose honest and painstakingly crafted art seems destined to be a benchmark for future generations as well as encouraging the current one to stand up and testify.

It's driven by Helm's warm, amazingly rich moonshine vocals and decorated with bluesy guitar sprinkles, angelic violins and lovely harmonies by his daughter Amy of the folk-rock outfit Ollabelle.

Sure, there's a formula at work here, but it doesn't feel forced.

Wild, unfettered and bone-shatteringly loud, "Blue Cathedral" will stir any fan of extreme guitar mania.

Those who are up for the challenge will find much to admire.

17 tracks of "edutainment" that are as enjoyable for adults as they are for kids.

With such a variety of moods and sounds, "S.T.R.E.E.T. D.A.D." turns out to be the rarest of albums: able to make you think but more interested in making you dance.

The New Jersey crew is still cranking out metal as frenzied and choppy as a machete-wielding madman, yet twice as schizophrenic.

The more cohesive undercurrents of "Lost and Safe" might display a formidable sense of growth for the band, but hardcore fans of the band's past work might be a little taken aback by the album's more direct approach. Nevertheless, these guys remain at the bleeding edge of pop innovation, even if it is more hummable than you'd expect.

It's the kind of recording that makes you wish you were there—but also makes you feel like you are.

Shockingly, "ONoffON" is almost on par with that landmark ['Vs.'], clearly the product of the same band operating at top form.

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

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]

Producer Brendan O'Brien kicks up classics like 'Even Flow' and 'Black' by putting Vedder more upfront and toning down the reverb so listeners can better hear the interplay of guitarists Mike McCready and Stone Gossard. Disc two tacks on six more tracks that represent the real gold for diehards who have traded sludgy bootlegs of the band's early jams for years.

"Ga Ga" stand out as a fun, if somewhat peculiar, addition to the Spoon catalog.

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

Another extraordinary Decemberists album.

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]

[He] truly shines.

As strange as it is wonderful.

The 14 tracks find Thompson in typical tasteful form, playing with understated flash that straddles the trans-Atlantic divide to embrace Celtic soul and rootsy Americana, with bits of jazz and Jamaica ("Bad Monkey," "Francesca") thrown into the mix. [2 Jun 2007]

The result is an album of tremendous fullness: The sound is dense, the lyrics are complex, and the production is top-drawer.

Retaining the naked simplicity of 2000's "We Have the Facts and We're Voting Yes" while continuing to hone the more lush, hi-fi sound found on 2001's "The Photo Album," the fantastic "Transatlanticism" is full of the lovely melancholy for which Death Cab is known.

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.