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.

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

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.

Weird, and often wonderful. [22 Oct 2005]

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.

"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.