"Son" is yet another triumph for Molina, who continues to distinguish herself as one of the most innovative electronic artists today.

Beck has rarely performed with such maturity and confidence, breathing a rich, often haunting baritone into songs that seem to follow a plotline thread of despair after the end of a relationship.

The chaotic electronic density of U2's last few efforts has been replaced by sticky, bite-size tunes -- sporting candy-sweet choruses that are often underlined by unabashed words of love.

This release is comparable to 2004's stunning "Last Exit" in that every song has its own merits yet feels part of a greater whole.

The album could serve as an excellent point of entry for a new crop of fans.

A largely effective mix of grime and soul. [25 Mar 2006]

Every so often an artist will release a debut record that has seemingly come from nowhere; you question where this person has been all your life, and how come it took so long for this to get out.

Leo manages to weave his messages into some of the tightest, most energetic rock you're likely to hear this year.

[A] very wonderful, very adult set.

Although the arrangements remain impressive, there are moments when it feels as though Dungen should stick with a quicker pace. [26 May 2007]

[He said] wanted to take a different direction on Year of the Gentleman. However, it seems he still has a heavy--yet welcome--case of the (rhythm and) blues on the finished product.

What has become increasingly clear is that Devendra Banhart needs an editor.

The effect is never derivative, nor is it catered to the commercial hip-hop landscape, but it's always memorable.

A through-and-through classic.

The disc makes so few concessions to current trends that it sounds like something dug up from a time capsule, in the best sense.

Given the talent on hand it would take some horrible disaster to sink "Optometry," but the combo actually bests expectations.

While Zwan sometimes displays the anguished heart of the Pumpkins, the band also has a leaner, upbeat sound that is, at times, downright sweet and playful.

Grohl's furious playing fits perfectly with the wall of rage erected by Joke vocalist Jaz Coleman and fellow founders Geordie Walker on guitar and Youth on bass.

So, yeah, the New Year sounds an awful lot like Bedhead, but who can really complain?

A collection of blistering rock songs and alcohol-laced laments.

The epitome of a melancholy winter record.

This much more polished follow-up goes down smoother but still packs plenty of fire.

It is a testament to Mike Sandison and Marcus Eoin's production acumen that the songs here sound so organic despite their computerized origin. [22 Oct 2005]

The chameleon has come home and still sounds like no one else.

On his third solo outing (and first for Columbia), songwriter/producer Raphael Saadiq takes the listener on a smooth carpet ride that seamlessly weaves the feel-good essence of soul music's storied roots.

Indie rock's favorite (and most prolific) red-headed woman has never sounded more assured than she does on this solo-billed set, a soaring, brisk rumination on love and other matters that comes with a dusty tinge befitting its Arizona roots.

"II" conjures a creepy but very real neo-psychedelia that is alternately paranoid, somber and reflective.

Expertly tows the line between old-school hip-hop homage and forward-looking experimentation.