This new soul still sounds fresh.

The band has energy and urgency anew.

What it lacks in aggression, though, the disc more than makes up for in inspiration, as these covers are so radically reworked that they sound as much like originals as the disc's lone new tune, "Passive."

With their intensely layered harmonies, pounding rhythms and Martsch's own nasal drawl, songs like "Alarmed" and "You Are" are sublimely hummable pop gems.

Take Elton John, multiply him by five, add a pinch of Frankie Goes to Hollywood, maybe a little Beck and some Carson Kressley, and you'll have something resembling the Scissor Sisters.

A glorious noise in which wailing guitars, teeth-rattling drums and Ralph Cuseglio's bug-eyed hollering leave no place for pretense.

An album that does his low-key legacy well, mixing classic rock-influenced guitar solos and quaint folk sounds with psychedelic effects and high-pitched melodies that put Rush's Geddy Lee to shame.

While the signature muffled beats of Shadow are missing, Land is so much more expansive, effortlessly melding electronica and Britpop.

The four-piece has transformed into a genuine powerhouse, blowing away any so-called new rock revolution contenders with lovely melodies and effortless intensity.

There's a little reggae touch here, some mild folk there, but mostly Johnson just excels at creating gentle background music that sways like the waves and feels twice as cool.

His lyrics remain slightly twisted, the music is uniformly dark and the singer's still a little freaky.

Through it all they keep it both consistent (without being same-y) and experimental (without being disorienting).

Snoop sounds as cool as ever with his velvety voice and nodding head keeping the laid-back party going.

Part new-wave keyboards, part folky acoustic guitars, the music on More Adventurous is unexpectedly beautiful.

Totally depressing and totally engaging.

Aside from the thumping groove of "Nobody Knows Me" and a few other bouncy beats, much of the electro style Madonna experimented with on 2000's Music has been replaced with warmer sounds and earthy touches, like acoustic guitars and a choir that comes from nowhere on "Nothing Fails."

There's still plenty of spunk in to be found in this Sgt. Pepper-lite.

The pretty ballads meditating on the vast wilderness and lonely highways of the great white north provide the perfect showcase for Krall's sultry voice and Costello's classic melodies.

A quietly retro mix of guitars and organ-fueled songs, the music simmers rather than boils over.

It's an easy listen, enjoyable on the surface with deeper meanings you're willing to dig.

Under My Skin gets generic at times, but that's why it works.

This solo disc by Phish phrontman Trey Anastasio offers some delicious bait.

By getting real, Garbage has produced quite a find.

There's enough melody and structure to keep one engaged.

This disc has a clutch of songs that mix chord-y abandon with raging rock riffs--and a heck of a lot of good times.

[The Crane Wife] not only matches past pop glories, in most cases, it tops them.

While undeniably ambitious and moving in parts--with sunny harmonies and layered production--it also happens to be a little kitschy.

If the album weren't so agreeably off-kilter--short, whispery tunes alternate with long, rambling epics--its mix of guitars and piano would almost seem like the stuff you'd hear on rockers like Layla or Abbey Road.