It's a concept so heady and engrossing that it can obscure the fact that "Sermon" also rocks in a way Jones never has before. [17 Feb 2007]

A shamelessly melodic, wild and powerful pop record. [10 Feb 2007]

A good-time, classic rock feel permeates [the album]. [11 Feb 2006]

Searching for a ray of lyrical light in John Mellencamp's latest treatise on the state of the world proves consuming—but largely fruitless. That, however, makes the album all the more compelling.

"The Eminem Show" is not a great artistic step forward, but it reaffirms Eminem's stature as a talented and prescient pop star.

In the end, it seems that no matter how pained West is, as long as his one true love--himself--is intact, he will prevail in the face of adversity

The group's rocket ride appears to have preserved its more appealingly eccentric tendencies: frontman Reggie Youngblood's ridiculous yelp of a singing voice, for instance, or Dawn Watley's ultra-cheesy synth lines, which quote pretty much every new wave hit of the '80s.

Brilliance shines throughout. [11 Mar 2006]

The disc spotlights Veloso blasting off with raw, beat-driven fuel in the company of a band of youngsters who animate and invigorate him. [27 Jan 2007]

The more time one spends with Vapor Trails, the richer and more nuanced it becomes. Consider this an absolute triumph.

His voice has thankfully improved from record to record; like grain alcohol, it's gruff and eye-opening, well-suited for Crooked Fingers' pop-folk tangents.

A duet record for the new millennium.

A recording not to be missed.

Some of its most appealing material in recent memory.

The act's most melodic and accessible album of its career.

No one is breaking any ground here, and White fanatics looking for a new White Stripes record should temper their expectations. But as far as side projects go, this is as good as it gets.

Under Rubin's direction, Dylan's laid-back rasp, often laced with smoky harmonies, gains weight and texture.

Thanks to the stellar backup band, E's husky voice and sad stories become all the more desperately lovely. [25 Feb 2006]

The roots-rock of Detours is old-school-sounding Crow now with a heightened consciousness of the world around her.

"Ringleader" proves Morrissey does not need to be miserable to make memorable music.

Francis' production has noticeably tightened the band's sound, as Freddy Feedback's bass bounces crisply alongside dueling riffs. Art Brut may never shed its screwball charisma, but Satan is a successful step in a mature direction.

There's a refreshing lack of samplers, loops, and unnecessary electronic ephemera here... [s]olid from beginning to end...

A subtle masterpiece...

Stringfellow is one of the most underrated songwriters of our generation, and while "Touched" may still remain his all-timer, "Soft Commands" could most definitely be considered his textbook.

One by One, in all its thunderous angst and desperate expressions of hope, represents a full-on exploration of the Foos '70s influences.

Decades in the making, this collection of swing classics as interpreted by Willie Nelson and Asleep at the Wheel doesn't disappoint.

On their third full-length, Heartless Bastards honor the penetrating howl of leader Erika Wennerstrom, who sounds like Robert Plant's less-shrill American sister, by including several acoustic tunes that underscore her vocal versatility.

This album showcases De La Soul's more playful side while maintaining the group's intelligent, witty lyrics.

100th Window meanders along, emotion-less and soul-less—albeit with haunting Middle Eastern flourishes.

Another gripping CD of thunder and grace.

As nihilistic and hostile as ever.

If it's true that music of this nature doesn't get anymore heartfelt, it also rarely gets more infectious.

Cracker sounds like it's having fun again.

Stronger than not and off-kilter enough to remain engaging even when the skits come on, "Theloneliest" might not have been worth a five-year layover, but it's weird and wide open.

Though the album grows stronger as it lurches on, the trio's pursuit of bombast leaves the killer melodies lost in outer space.

Lerche seems headed in a promising musical direction, but not all the songs here pack the expected punch. [10 Feb 2007]

This first new Dolls album in 32 years is not just a legitimate entry in their catalog, it's a great one.

A quality album. [6 May 2006]

The latest batch of tunes definitely includes some keepers.

QOTSA envelops many of the songs in a fog of menacing guitar squall that focuses as much on atmospherics as hooks. [16 Jun 2007]

Seem[s] like a missed opportunity.

The propulsive 11-track Horehound finds the White Stripes and Raconteurs frontman every bit as able on the drums as he is on guitar.

This new set fills in the spaces with sweeter, fuller arrangements, but the songs are hit and miss.

Easily its most lushly orchestrated and diverse output yet.

There isn't a standout single, but this is Dido's most fully realized and elegantly rendered collection.

It's hard to stay completely original album after album, but Ozomatli does exactly that when it sticks to the sounds of Los Angeles it helped put on the map. [14 Apr 2007]

Musically, the album is more languid than earlier efforts without sacrificing the urgency of her patented guitar pluck-strum.

Smacks of pure aggression, the kind which made household names out of such groundbreaking labels as SST and Amphetamine Reptile.

Even if it's easy to miss the full-tilt pyrotechnics of yore, Reis' new approach allows you to appreciate his wound-tight tunecraft like never before.

Her writing can be exceptional.

K'Naan's singular take on the parallels between Africa and America is the strongest thread running through this diverse, socially alert and frequently brilliant sophomore disc.

All in all, "How Animals Move" is a slow-burning, understated gem that intrigues and engages in equal measure.

It's pure cotton candy for the ears, and it sounds sublime.

"Silent Shout" excels with pulsating electro-rhythms, even though they don't include drums, bass or even a drum and bass sound.

More satisfying than its predecessor, Lifeline is a classic-sounding album that reminds us of the power and beauty of simplicity.

Beware is supremely sequenced, and is possibly Oldham's finest album yet.

Pretty much all John Darnielle's songs sound the same, but that sameness affords a remarkable consistency.

An early contender for the year's best dance/pop album.

Fans will notice a more organic, rougher approach to the formula of jazz chords, pretty dissonance and summery melody lines. [12 May 2007]

A wonderful disc. [3 Dec 2005]

By pulling from alt rock's elite past to concoct its own primitive magic, Ikara Colt has come up with a rock solid first album.

Challengers won't surprise anyone familiar with the New Pornographers' prior work, but it still manages to be refreshing and exultant.

Throughout, eerie production touches (metallic clinks and synth bleeps on 'Where in This World') and organic sounds (acoustic guitars and glockenspiel on the title track) fit seamlessly to form the Notwist's most charming and complex work to date.

Sonically rich, Lost in Space is home to some of Mann's most intimate storytelling.

Pearl Jam is fully, comprehensively re-energized.

A relatively solid return that should bring some new fans into the flock. [12 May 2007]

This second solo album is so strong that a listening moves from why to why-not territory rather quickly.

This time, the gorgeous harmonies and lo-fi ELO homages remain, but the lyrics are more personal.

As a singer, Kristofferson remains a hell of an actor, but there is a lot to love about this record. [11 Mar 2006]

Kasey Chambers has created a series of stirring, passionate songs that capture raw emotion and a simultaneous toughness amidst a blend of country, blues, and folk musical influences.

The veteran artiste holds his ground on a collection that is sure to earn him the respect of not only his old fans but a new generation of listeners raised on sonic provocateurs like Beck, Nine Inch Nails, and Moby.

Because the disc's energetic blend of electronics, robotics, and riffage is so vivacious, it hardly matters that the shadows of Radio 4's predecessors loom large over "Gotham."

A sad and beautiful farewell from one of the most innovative artists of the past decade.

Though his singular identity doesn't translate necessarily into a singular sound, there's plenty in his road-tested formula for fans of soulful, organic hip-hop to like. [12 May 2007]

He's embodied literature's most popular archetype--the survivor--by transforming his woes into a reflective, enjoyable album.

Jhelli Beam finds this prominent member of the West Coast underground hip-hop coalition Project Blowed challenging his unique flow and uncanny wordplay at every roundabout turn, rhyming against a tsunami of samples crafted by such L.A.-based production wizards as Daedelus and Nobody, among others.

Her big sense of humor and little sense of shame should help keep "Impeach" in rotation for incumbent spins.

Smith's vision is as rapturous as ever, and it receives its most focused, impassioned treatment here.

Sounds like something carved out of the earth, a soulful howl of Hendrixian guitars and Zeppelin stomp.

It's that mix of sad-sack circumstances and cautious optimism that makes the Scottish quartet's debut such a rich exercise in self-aware spleen-venting.

It's clear from the sheer range and energy on this album that McCartney is heeding his own advice.

It has the ambition, enthusiasm and intensity of an artist still pushing the envelope. [27 Jan 2007]

Hope & Glory"--which contains 11 covers and one original--is rich in pleasures, even if it plays more like a highlight reel than a thoroughly imagined work.

Though it could use some portion control, "The Cookbook" still whips up a tasty meal.

"The Joy of Sing-Sing" is an aptly-titled delight aimed straight at alt-pop partisans.

Like its predecessor, the stellar Sleepwalking is steeped in mature songwriting craftsmanship and versatile rhythms that encompass dance, reggae, hip-hop, and left-field ambiance.

The stylistic seesaw between hyperactivity and placidity is almost too much to bear -- and will surely frighten the pets -- but that may be the point.

If this disc has a weakness, it's in the somewhat "samey" feel of a couple of the songs, but at just under 40 minutes it's no biggie.

Immediately alluring without sacrificing eclecticism.

By tossing some horns and a variety of dark basslines into the mix, the U.K. quintet creates intense, unique songs that are more than a sum of their influences.

By refocusing on the dancefloor, the Rapture remains a step ahead.

Whatever their inspiration, new cuts like the oddly pretty 'Lose You' and 'Billionaire,' the latter of which features a fiery cameo from Shunda K of Yo Majesty, throb with unexpected vitality.

Sonic sap threatens everything here, but Edmonds usually manages to stave off Hallmark ickiness with an ear-tickling detail or two.

Raitt's eternal vocal effervescence and enthusiasm continue to amaze and astound.

Kweller shines apart from his identically named buddies [Ben Folds and Ben Lee] and proves his songwriting chops.

It doesn't take anything away from his historical weirdness to say that None Shall Pass has some of his most understandable hip-hop to date, as long as you don't worry much about what he's trying to impart.

His relationship [with Miranda Lambert] gives Startin' Fires its verve and spirit, a love-struck recovery from the heartbroken pall that hung over 2007's "Pure BS."

Asking for Flowers is filled with literate and provocative lyricism, vivid characters and cinematically engaging scenarios.