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]

Throughout, Kozelek connects memory to emotion with masterful strokes.

The only problem with this crackling sampler is that it clocks in at just 34 minutes.

Few songwriters can express these mundane intricacies of melancholia free from morose affectation, but Rouse's heartbreak and hurt sounds honest and natural, inviting you to share his pain.

RJ's solo work transcends hip-hop boundaries, and at its peak moments, is better described as much closer to soul.

Barnes' bright-eyed, bushy-tailed vocals are at times trying, but there is substance and craft behind the unrelentingly catchy ditties.

The b-b-beat continues on Hey Hey My My Yo Yo. In fact, the songs here are more catchy, and yes, more fun.

The type of minimalism employed by Xiu Xiu creates masterpieces of avant-garde restraint that truly haunt the mind.

The music is stripped-down but robust, with de la Rocha on vocals and keyboard and Theodore on drums.

It's difficult at times, though, to pick out one song against another and some tracks are too same-y or too heavy-eyed for a second glance.

"W" does have a few flaws, namely "Conditioner," which features Snoop Dogg and is the only track graced with Ol' Dirty's presence. Despite his trademark voice-cracking inflection, the Dirt Dog's verse sounds as if it was recorded over the phone, detracting from what could have been another Wu banger.

The result is a flawless blend of sunny pop, Motown, blues and jazz with the cleanest production in Camera Obscura's catalog.

Though accenting the vulnerability her vocals naturally possess, she manages world-weary honesty and summoned strength rather than contrived sentimentality.

The songwriter's fondness of esoterica makes "Pig Lib" a trying listen; even the song titles can elicit an eye roll.

On the 14-track "Mama's Gun," Badu mixes a little rock, some jazz, and a whole lot of soul.

An album whose enviably assured vibe pretty much drips out of the speakers.

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

Harvey's mostly bare arrangements, stark vocal delivery and razor-sharp lyrics add up to a poignant, haunting rumination on what makes--and breaks--a life

Easily the most likable and listenable jazz album of 2007. [12 May 2007]

Saturnalia, is teeming with the kind of raw and gritty music one might expect to hear kicked around in, well, the gutter. And considering the project is a collaboration between Mark Lanegan and Greg Dulli, that's certainly not a bad thing.

Dan Auerbach has veered off the garage-rock path now and then throughout the Black Keys' career, and this solo debut reaffirms that he's no one-trick pony.

A stronger, more distinctive album than its predecessor in nearly every respect.

A wonderfully ambient collection of 10 songs

"Wonder" isn't as immediately accessible as any New Pornographers album, which may turn off some fans looking for another set of sugar-coated rock. Nevertheless, these compositions also demonstrate Newman's immense talent, which ensures any monotonous patches on the album are quickly redeemed by far more interesting sonic departures.

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.

Imagine the B-52's playing a wedding in Siberia and you'll have a loose idea of what's in store on these 14 tracks.

Raw and emotional.

Right off the bat, you realize this is serious music for serious listeners.