Ejstes is a remarkable talent, and it will be worth listening to hear if he leaves his ardently retrograde Dungen identity behind and pushes toward more forward-leaning concepts.

To the 5 Boroughs is continuously distracted from its titular dedication by political concerns, severely dampening not only its replay factor but also proving to be the least fun album the normally surefire trio has made.

It's brilliant.

It's [Kim] Gordon's tracks that make the strongest impact.

There's a rigid sincerity to his work that refuses to allow him to drift too far from the statements of purpose he so carefully lays down in the studio.

Quite simply, Drill a Hole is White's distinctive, Panhandle-troubadour vocals performed over the jazzy, late-night tones of a Joe Henry-assembled band.

Fans of the New Pornographers will find Slow Wonder not quite as rocking (though "Miracle Drug" features some crackling guitar work), but possessed of just as many memorable hooks and choruses.

But if Uh Huh Her doesn't rise to the level of Harvey's best work, it does possess a grim, unvarnished beauty; a beauty that, while it might repel a few of the fans she gained with Stories, capably rewards devotees of her earlier, unburnished and uncompromising works.

Mostly, it sounds like no more and a little less than one might expect (or hope for) from such a union: Scott Weiland singing over some relatively crunchy Slash guitar templates.

Now, this wouldn't seem so bad, or filler-friendly, if !!! offered an advancement on "Giuliani." Alas, no.

I Com thus presents a new model for electroclash artists: it still exhibits some hallmarks of impersonal club music, but it also offers a (presumably genuine) glimpse inside the private diary of Miss Kittin.

Before, it sounded like Animal Collective sought only to please themselves. Sung Tongs sounds like a concession to the rest of us, and that's not a very exciting prospect from such a unique and potentially great band.

There isn't much variety on the disc, which many will find a bit thin after repeated spins, but there's no doubting the band's clean, confident sound.

There's precious little rocking to be found, and the turgid numbers that make up Baptism's bulk are bogged down by insipid clichés and half-hearted tempos.

Possibly Hatfield's best work since her solo debut.

Granted, there are still "classic" two-minute exercises in self-immolation (the bleak "Icarus Smicarus" and pulverizing "Lucky Jim" stand out), but nothing that exceeds -- or approaches -- Dallas' chaotic brew.

Since We Last Spoke is more sonic retreat than bold reinvention, an intriguing, if not entirely triumphant, tip of the hat to the sound and spirit of the Year of the Dragon.

Split the Difference simply isn't very engaging.

What could be utterly pedestrian, so-what material in the hands of a lesser talent is instead imbued with cheeky mythic significance by Skinner -- blessed with an uninhibited gift for gab and a willingness to reveal all facets of his character, grotty warts included.

Despite the intervening years, Quarry sounds cut from exactly the same cloth as the last couple of Morrissey albums, which is to say that at best, it represents a bit of a holding pattern and at worst, it continues the slow artistic decline begun with 1995's lackluster Southpaw Grammar.

i is a well-crafted work with its share of strong moments, even if its impressive attention to craft holds the listener back from emotional investment.

Rejoicing in the Hands is a remarkable album, and Banhart displays a range and gift for melody that belies his twenty-three years.

This is the real deal, played by men who haven't lost their edge after a two-decade absence.

Clips and clatters, glitchy mechanics and breathy cooing have displaced the beautiful melodies that are Múm's strong suit.

Heroes to Zeros may not wholly reconcile mainstream expectations with the Beta Band's desire for personalized expression, but it does come as close to aligning those twin poles as anything the band's recorded thus far.

Trampin' is an improvement on Gung Ho, Smith's previous release, if only because she hasn't sounded this committed and politically charged in years.

The most personally felt, universally inclusive record of her career.

Taken as a whole, Inches is a fantastic collection, achieving what other full-length Les Savy Fav albums have not: Delivering a wholly satisfying listening experience.