Musically, the tunes are more cohesive this time around, with more of a "band" feel then simply people accompanying Amos and her Bosendorfer.

Overall, the album is a little more rock, a little more sophisticated and includes actual artistic input from the artist herself. A wonder in these modern times.

Some may find the Aluminum Group's love-on-ice songs too slick, too lacking in visceral emotion. But like a cool breeze in summer, the Navins make melancholy a delicious treat.

Nu electro, crunchy big beat, oddball Irish jigs, Royksopp covers a lot of territory but always with its signature, blissful blend.

LL Cool J's 10th album isn't a greatest hits collection--it just sounds like one.

Hill may get slammed by critics from both sides for delving this far into pop but, not only is her performance more passionate than the majority of pop recordings, it's a direction that seems to fit both musically and emotionally.

With songs full of piss and vinegar, Soft Cell's return is triumphant and toxic.

The perfect combination of restrained production and sparkling tunes.

Oozing confidence, clarity and common sense, the group's four MCs tackle their topics like the greats of old, distilling complex thoughts into simple, powerful rhymes.

About as far removed from Dire Straits as it can be.

It's unquestionably one of the best rock albums of 2002.

This is beautiful music set in minor keys.

Full of the obscure and deranged moods that made Security alternately delightful and demented, this album revels in craggy vocals, thumping beats, esoteric instrumental sounds and a general feeling of beautiful dread.

Offers 12 diamonds that aren't quite total pop or total rock--but fall in a wonderful zone somewhere in between.

Underworld's grooves pump with less impact now, but they make them work harder and with more diversity.

Another sterling and fearless entry in the Earle discography.

When Adams sticks to the pop-rock mode, he can be dynamic as well as one of the cleverest pop thieves since Nick Lowe.

Much to alarmist indie-rockers everywhere, Martsch has been making his fondness for classic rock--and Neil Young, in particular--more pronounced with each release. Now, he goes one deeper, following the Young vibe into his own world of introspective weirdness.

How Animals Move, much like its creator, has "side project" written all over it. The songs meander freely, setting up moods, throwing together unusual sounds.

The album forsakes Doe's past rockabilily, country, and punk leanings for a fairly morose, maudlin mood.

Night Works proclaims the victory of brains over booty-call, mind over matter, craft over cash.

Adamson lives in a dream and his music is a delicious trip through time.

Both her songs, mature and articulate, and the quality of her voice, airy and haunting a la Nico (but not as dark), are of uncommon quality.

Haven's one weakness is their failure to ever pick up the pace or well, y'know, really rock; like Coldplay's two agreeable, unhurried albums, there's a sort of same-y-ness throughout Between The Senses' 12 lullabies.

This is one of the most accomplished, powerful, and entertaining hard rock albums ever made.

Most of Eve's third album won't come as much surprise to those who bought the first two--and that's nothing to complain about.

A very tastefully crafted, tuneful, and affecting piece of work with a band that is still just beginning to tap its enormous potential.

With years of added wisdom and maturity, Silverchair has learned how to do much more.