The mixtape of emotions Trentemoller has produced on Lost is proof of his virtuosity.

It’s merely average, one likely to fade into memory once the buzz dies down and the fire goes out.

Despite the duplications from previous collections and a heavy emphasis on dubious alternate mixes, true devotees will likely still find Made in California an essential acquisition.

Yes, this type of record has been done before, and arguably better, but there are still some powerful tracks on The Things.

Allegedly a bubblegum record, in reality this is Collins’ take on psychedelic pop, with twinkling keyboards, polite guitars and a heretofore unimagined Collins croon that could charm the panties off a lesbian punk rocker.

It’s that free-flowing vibe that helps make this seem more like an overdue reunion for the home town crowd as much as any attempt at a polished performance.

While that sad waste of talent and potential deals the album a serious blow, the rest of the set proves mostly satisfying, even when the song selection remains relatively unknown.

Their latest, crammed with 17 tracks, will likely be a case of too much of a good thing for all but the hardcore fans.

Tales of Us unveils yet again how talented Goldfrapp truly is as together Alison and Gregory continue to craft music that does not pigeonhole them into a set genre; they simply make exceptional music.

Elvis at Stax, discreetly packaged, replete with complete credits for musicians, singers, and studio personnel, and excellent (if fawning) Robert Gordon liner notes, is a nice corrective.

With Sleeper Segall sounds almost, well, mature, and emotionally invested.

The lush production and whimsical tone complement May’s discerning ear for song arrangements, making Warm Blanket his most endearing effort yet.

The good folks at Shout Factory didn’t opt to only offer these discs a second time around, but instead provided added enticement via two bonus extras, a stunning live recording from Nashville’s Polk Theater, recorded around the same time as I Feel Alright, and a live DVD from the Cold Creek Correctional Facility where Earle had earlier been incarcerated.

Over The Rhine have made their masterpiece at last.

Good as this is, it could be that much better.

Derivative? Sure. But also blissfully compelling and entertaining.

King Khan is, so far, pursuing a sound that is more huge than slick, and it sounds great.

It all combines to create an album of magical (realist) splendor, a journey into a past which will always have more to offer each time you listen to it.

The ferocity in their delivery and the sheer sweep of their eager entreaties create an anthemic exposition, resulting in a series of songs that make it impossible to sit still.

["Arkestra" is] a mess and a resolution all at once, a miasma shot through with clarity. The rest of the album is good, but if you need one reason to play it again, this is it.

This is the ordinary world made radiant, surreal and strange, its everyday objects glowing with internal light.

It’s unlikely that Carrier will be the offering that brings that promise home. Yet it is a superb showcase for the pair’s ample prowess.

The impotence of railing against it is a theme running through a lot of the record, and in the case of Nightingale Floors, coming to terms with the past has freed Rogue Wave to turn in what might be their finest work.

Opening the door of your mind’s eye to the psychedelic sludge and acid punk hooks of Slave Vows will gain you a lot of decadent pleasure, little insight and even less mercy.

These slow-rolling, Southern-bred sentiments serve him well, and indeed Gone Away Backward appears to be a fine step forward.

The raison d’etre here is warhammer shred, with little mercy and less restraint.

While the tunefulness of these tracks may not be so obvious--and in many cases, almost entirely elusive--she entices her listeners to peel back the layers and discover the shimmering glow that emanates from within.

Though some lyricless segments blur together, a few stand out.