More than 20 years in, Screeching Weasel is providing tuneful evidence that one can be childish without coming off as adolescent.

It's largely a tour de force that speaks of love and life with an honesty and clarity recalling the optimism of Curtis Mayfield and the occasional dismay of Marvin Gaye. [5 Sep 2004]

At times Iyer and his charges exhibit so much virtuosity and skill it's almost overwhelming how quickly ideas rise and fall through a given track, but attempting to parse all this trio is trying to say is well worth the effort.

Mercer's knack for twisting and turning melodies is impeccably served by Burton, who tempers and fulfills those melodies with laid-back but elaborate scores of synth, piano, organ and sometimes a full string section, the only instruments not played by Burton or Mercer.

Dirty Projectors still get itchy at the prospect of sleek surfaces, and their uneasiness is a thrill to behold.

Its musical and lyrical themes recur without fuss, and each track has its own strong identity that speaks to but isn't weighed down by the larger (and beneficially looser) narrative.

Shaolin Vs. Wu-Tang is his successful quest to return to the days when it was simple, blessed with the wisdom to know which philosophies work.

There's such a casual, old-timey feel to much of the CD that it's easy to get caught up by the album's charms and forget to focus on Ward's writing, which would be a mistake. [6 Mar 2005]

Hutz has said that Rubin encouraged him to focus on his songwriting as opposed to the band's frantic live show, and "Hustle" bears out that claim with catchier melodies and more slogan-ready lyrics.

While the album is daunting to absorb at a sprawling 77 minutes, the results are well worth it.

At once stern and playful, wildly scattered and yet sharply honed by the artist's sheer will and reach. [6 Feb 2005]

"Z" moves away from the more overt Band and "The Notorious Byrd Brothers" references, closer to a convergence of Who-like playfulness and drive with R.E.M. mystery. [2 Oct 2005]

This bluesy, heartland-soaked musical excursion features meaty support from guitarist Doug Lancio, bassist Patrick O' Hearn and drummer Kenneth Blevins, wittily informed nods to such influences as Chuck Berry, the Rolling Stones and Willie Dixon and plenty of the rock soulfulness that's integral to the sound he's been honing for decades.

For much of the record, Mellencamp is eyeing death and laughing at the devil or, as in the back-porch-folk of "Easter Eve," bonding with his son by brawling with strangers. A little cranky, but far more carefree Mellencamp slips into a rocking chair groove on the lost-lover lament of "Don't Forget About Me" and concedes that he's "spotty at best." Over the course of his 30-plus-year career, sure, but not here.

God Willin' & the Creek Don't Rise has a natural feel, comfortably ranging from bar-band rave-ups to contemplative acoustic numbers, with master pedal steel player Greg Leisz leading several tracks into the expertly unfussy territory of blue-chip Nashville country rock.

For all its stylistic variety, though, Sinners hangs together thanks to Malo's consistently remarkable vocals. Listening to this guy sing--listening to him sing anything--is an act of pure pleasure.

Repeated listenings only prove how strong and artful this collection is.

Cooder manages to make his work both cynical and idealistic. But most importantly, it's authentic. [12 Jun 2005]

It's a portrait of an English radical at 62, but it's personal and emotional and neither strident nor stodgy.

Over the Rhine seems to inhabit another time, one that sounds awfully appealing here.

["Redemption" is] just one of the many deeply beautiful tracks here that further dismantles whatever barrier was left between rap and R&B following Drake’s earlier albums.

Crosseyed Heart could have been issued at any time in the past four decades. It’s full of influences he’s spent his creative life exploring, and there’s nothing viral or meme-worthy about them. That Richards keeps discovering nuance within those original texts is a testament to his seemingly infinite muse.

A blast to listen to.

[A] lovely but searing new album that weaves 2016 racial, sexual and political tension into an album of immaculate, Prince-inspired funk and R&B.

Unlike much ambient music, Gave in Rest isn’t made for background listening. In fact, only with volume can you fully appreciate the depth of Davachi’s creation.

Like kindred spirit Dawn Richard, Kelela veers from the requirements of mainstream R&B to explore her own course, and the result is a portent on the genre’s future.

Her new album features 11 songs, and there’s not a dud in the bunch.

The singer dials down his boisterous rock ’n’ roll attack in pretty, midtempo songs lush with the type of string-and-horn arrangements that once kept session players busy in recording studios up and down Sunset Boulevard. ... What lifts this album above the other is the shapeliness of Springsteen’s tunes, catchier than they’ve been in years, and the vivid images in his lyrics.