"The Shining" documents the totality of who Jay Dee was as an artist and performer.

The Stripes have never had so much fun. [23 Jun 2007]

The follow-up to Antony's acclaimed 2005 breakthrough album, "I Am a Bird Now," is perhaps only a less astonishing listen in light of the artist's growing reputation.

A crowning achievement.

"Kid A" immerses listeners in an ocean of unparalleled musical depth. It is, without question, the first truly groundbreaking album of the 21st century.

The appearance of Hood's dad, legendary session man David, gives parts of Murdering Oscar--even within the Southern-rock storm and Hood's charcoal vocals--a sweet, possibly unprecedented sense of tranquility.

The duo's current sonic incarnation favors melody over mayhem, and all the better for it.

Yet, for all of its strengths, the monumentally somber "Cedars" does suffer from a few ill-conceived pieces, like the needless, patience-trying "It's All too Much" and the abstractly rhythmic "Treat Yourself With Kindness."

Though far from groundbreaking, "Destroy Rock & Roll" spotlights an artist who has a knack for cleverly referencing music that has come before. [11 Feb 2006]

Throughout, Kozelek connects memory to emotion with masterful strokes.

The only problem with this crackling sampler is that it clocks in at just 34 minutes.

Few songwriters can express these mundane intricacies of melancholia free from morose affectation, but Rouse's heartbreak and hurt sounds honest and natural, inviting you to share his pain.

RJ's solo work transcends hip-hop boundaries, and at its peak moments, is better described as much closer to soul.

Barnes' bright-eyed, bushy-tailed vocals are at times trying, but there is substance and craft behind the unrelentingly catchy ditties.

The b-b-beat continues on Hey Hey My My Yo Yo. In fact, the songs here are more catchy, and yes, more fun.

The type of minimalism employed by Xiu Xiu creates masterpieces of avant-garde restraint that truly haunt the mind.

"Me First" is an easy listen, but Sennett is not nearly as captivating a leader as Rilo Kiley's Jenny Lewis, and the coming-of-age tunes aren't always strong enough to account for the album's lack of tempo change.

The music is stripped-down but robust, with de la Rocha on vocals and keyboard and Theodore on drums.

It's difficult at times, though, to pick out one song against another and some tracks are too same-y or too heavy-eyed for a second glance.

"W" does have a few flaws, namely "Conditioner," which features Snoop Dogg and is the only track graced with Ol' Dirty's presence. Despite his trademark voice-cracking inflection, the Dirt Dog's verse sounds as if it was recorded over the phone, detracting from what could have been another Wu banger.

The result is a flawless blend of sunny pop, Motown, blues and jazz with the cleanest production in Camera Obscura's catalog.

Though accenting the vulnerability her vocals naturally possess, she manages world-weary honesty and summoned strength rather than contrived sentimentality.

The songwriter's fondness of esoterica makes "Pig Lib" a trying listen; even the song titles can elicit an eye roll.

On the 14-track "Mama's Gun," Badu mixes a little rock, some jazz, and a whole lot of soul.

An album whose enviably assured vibe pretty much drips out of the speakers.

A song or two with a bit more oomph would have been nice. [28 Jan 2006]

Harvey's mostly bare arrangements, stark vocal delivery and razor-sharp lyrics add up to a poignant, haunting rumination on what makes--and breaks--a life

Easily the most likable and listenable jazz album of 2007. [12 May 2007]