The aptly titled "Now You Know" shouldn't be perceived as the end of Martsch's indie rock affiliation, but the sound of an artist delving deeper, and in doing so, hitting his stride.

It's an icy blast of electro-pop that channels the genre's most quirkily beautiful moments and ups the ante with the unmistakable influence of the duo's film-scoring heroes, Vangelis and Angelo Badalamenti.

[It] sounds more like a continuation of Pinback's 2004 high-water mark, "Summer in Abaddon." This is, of course, a good thing. [27 Jan 2007]

The blues- and country-influenced songs on Break Up the Concrete are an engaging departure from the group's earlier hits, while Hynde's dynamic alto voice gives the set the unmistakable Pretenders identity.

A more focused effort that never sacrifices the band's manic intensity.

The Notorious film soundtrack not only assembles the best of the Notorious B.I.G.'s work, it includes gems like the rapper's first demo tape, two new tracks from Jay-Z and a 'One More Chance' remix featuring B.I.G.'s son, CJ Wallace.

Warpaint mines the same Allmans-to-Zappa synthesis of influences that's been the Crowes' stock in trade but finds the group fortified by sharp songwriting and lace-tight, live-sounding performances.

For the most part, "Mr. Beast" finds Mogwai quite comfortable in a genre they've helped define.

Even visionaries lose sight at times, as Pierce does on "Let It Come Down," an album that can only be deemed a fractured opus.

White Rabbits recruited Spoon frontman Britt Daniel to produce It's Frightening, an appealingly audacious move that reveals just how tightly these guys define their sound. That self-awareness is apparent in the band's music as well--nothing seems out of place in these tidily arranged soul-punk tunes, most of which revolve around piano and bass rather than guitar.

Cuts like 'In Your Words' and 'Grace' cover an impressive amount of sonic ground, from delicate acoustic atmospherics to full-on rhythmic pummeling. Yet with frontman Randy Blythe's guttural growl--not to mention his bile-soaked lyrics about religious hypocrisy--this is hardly a bid for an active-rock breakthrough.

"Long Walk Home" passes the ultimate soundtrack test: it stands alone beautifully, capably supporting the work of director Phillip Noyce while at the same time feeling like a natural and fluid extension of Gabriel's own distinctive artistic vision.

The music's full of warmly engaging jangliness throughout, even if some of the 19 tracks tend to blend together.

Ne-Yo still has a way with melody, managing to upgrade his offerings while showing that the writer in him ain't dead either. [5 May 2007]

Although this two-CD manifesto isn't completely immune to the current bar-lowering--disc one is heavy on wispy, lo-fi throwaways (one exception: an intimate acoustic version of the Flaming Lips' "Waitin' for a Superman")--there's more wheat than chaff.

The musical doesn't begin production until 2010. The time lapse is confusing for listeners of the narrative, which focuses on a young woman named Eve. But Murdoch, who lends his vocals to two of the album's 14 tracks, plays his strengths as the man behind the music.

Each of Ladd's compositions are moody yet ethereal.

Even though "Doctor's Advocate" has its failings, it's a prescription that comes recommended. [18 Nov 2006]

It gives fans something meaningful they didn't have before (in addition to token brand-new track "Keep My Composure").

While not a completely lovable effort, "1968" extends Pajo's varied lineage.

The unlikely resurrection of the New York Dolls is solidified by this second recent album, an output that now matches in quantity and mirrors in quality their epic early-'70s sprint.

The Irish quartet holds up its end with an album of melodically memorable and inventively arranged songs, most clocking in at more than five minutes and massaging listeners with a wash of keyboard and guitar textures.

Nothing here has quite the same panache as club hits like "Bingo Bango" or "Romeo," but "Crazy Itch Radio" nonetheless contains a handful of songs that reassert Basement Jaxx's superior production skills and unfailing ability to get any dance party grooving.

While the overlong album sometimes threatens to bury C&C with its own excess, the craftsmanship suggests the band is more than capable of breaking into the mainstream. [24 Sep 2005]

A surprisingly moody affair.

Fans of Queens Of The Stone Age, and to a degree Death From Above 1979, will probably be attracted to "The Indian Tower," but from the get go, there are noticeable differences that make the album a unique contribution.

A mature showcase of concentrated power with riotous groove jams, super-sized hooks and transcendent vocal arrangements.

Like British counterpart St. Etienne, Ivy deftly merges melancholic tales of the heart with happy-go-lucky beats.

A sleek machine that's practically pleading to be taken out on the highway.

It's hard to find fault with such a well-crafted record, but one does wonder what would happen if the Jayhawks cranked up the amps a notch.

LL... seems to have regained the fire that was sorely missing from his previous release, "Phenomenon."

McGraw's best effort yet. [31 Mar 2007]

This is a damn good party--best not to miss out.

On his second solo outing, New Pornographers main man Carl Newman gives a master class on how to merge melody and classic song structures without making music that sounds dated or retro.

Comfortable and confident all the way through, and a highly welcomed return.

The results are a selection of high quality that veers between brightly spirited ("Manhole," "Lag Time") and somber ("Callous").

This self-released third record sees them right back on form.

Every song is laced with harmonies that will weave their way deep under your skin.

Familiar, yes, but not unwelcome. [1 Oct 2005]

Think of bubblegum produced by a garage/grunge band.

Unfortunately, this disc's positives don't add up to a great album: Plenty of boilerplate g-funk thuggery serves as filler.

Malakian and SOAD drummer John Dolmayan have indeed brought something new for their fans to love--and perhaps even for non-fans as well, given the more direct and accessible nature of Scars' music.

A stunning shot of muscular, melodic rock.

They Might Be Giants' 12th full-length record is arguably their best since 1994's "John Henry."

Ween fans have come to expect the unexpected from this act, but even diehards will be thrilled by the sheer musical schizophrenia of La Cucaracha.

Easily the icon's strongest, most satisfying effort since her '78 classic "Easter," "Gung Ho" is, by turns, wistfully poetic and sharply observational.

This time there's less gimmickry, more sympathy for the words and melodies. Harris... has crafted 11 profound, graceful poems that rank with the best songs she's ever recorded.

The monochromatic melancholia eventually weighs the disc down, but even when Arthur's songs drag they do so with a grace and beauty that transcends the morose subject matter of his self-pitying lyrics.

All the elements for a smart, catchy dance-rock album seem to be in place, but the final product still remains slightly unstructured and rehashed.

The Coral's trade has made them less rumbling and more meandering, more coherent but less mysterious.

The Sea & Cake has dabbled in electronic grooves and Brazilian lilt throughout its seven sleek albums, but the band has never quite let it rip like it does on Car Alarm.

Yet for all the headphone-worthy sounds, the pace seldom rises above a back-porch feel and, at times, the stickers meant for customizing the cover seem like more fun than the music.

Most of the proceedings are fairly clean-cut and midtempo, with guitars only intermittently attaining heavy density. [5 May 2007]

The performances are so strong throughout that one can only pray this collaboration turns out to be more than a dalliance.

"Sheath" sounds immediately of a piece with LFO's earlier work, albeit rife with updated technology and boasting slightly broader ambitions.

Missteps more than it hits.

The album isn't a certified classic like earlier GBV favorites "Alien Lanes" and "Under the Bushes, Under the Stars," but it does have a healthy dollop of Pollard's trademark effortless pop perfection.

His delivery is intoxicatingly smooth, even if his lyrics travel all the usual exhausted topics.

An album unexpectedly packed with dance jams. [14 Apr 2007]

Erstwhile Pixies frontman/rock'n'roll lifer Charles Thompson is back for another round, this time reclaiming his "old" stage name Black Francis and rocking out harder on record than he has in years.

The album is diverse and slows up where it should.

Despite Meloy's lofty vocabulary and penchant for themes of antiquity, Decemberists albums are consistently generous with great tunes and charm, and "The Hazards of Love" is no different.

While the middle tracks tend to get lost in the shuffle, fans of Brock's Modest Mouse will be drawn to the horn-inflected swagger of "Bonnie and Clyde" and the stretched-out jam of album highlight "Konny and Jim."

Kuti studied piano and revisited the trumpet, his original instrument, resulting in a more textured and jazz-influenced approach this time out.

There are enough different feels and flows to dazzle listeners with Kweli's dexterity, but some judicious editing could have produced something perhaps even more impressive.

A gorgeous collection that is equal parts country and rock, joy and (more often than not) pain.

The Miami-bred MC Rick Ross has faced a number of career obstacles in recent months--from damaged street credibility to a multi-episodic beef--so it's all the more impressive that on his third album, Deeper Than Rap, he presents his most cohesive work yet.

A welcome return from a band that still doesn't sound quite like anybody else. [30 Jun 2007]

16 songs of stalwart Stones riffs that almost compensate for generally embarrassing lyrics. [10 Sep 2005]

A wonderfully subtle, often moving collection of acoustic tunes that illuminates Young's incomparable tunesmithing and a voice that can deliver volumes of emotion and subtext in a simple phrase.

Though highly amusing, the bouts of empowerment on "Teaches" can grow monotonous, due to similar-sounding songs.

All for You overflows with Parliament-etched funky beats, orchestral disco flourishes, and rich bursts of sensuality.

Although more upbeat than its predecessor, Vol. 2 requires some time spent listening. Those who do so will be richly rewarded.

Thomas returns with a soaring collection of infectious pop songs that are destined for heavy rotation in 2009 and beyond.

Though they're written by a teenager, Swift's songs have broad appeal, and therein lies the genius and accessibility of her second effort.

A beautiful, rhythmic gallop of harmonic singing, freeform piano, chaotic harp and some of the most insane drumming you will ever hear in your life.

There's not a clunker on "The Weight is a Gift," even if the band never veers far from the indie comfort zone of vague melancholia.

On first listen, it might seem too derivative, even dull, but Jeff Tweedy's intricate vocal melodies and Nels Cline's ferocious guitar work keep things interesting. [19 May 2007]

This is a live album the way it ought to be produced: sincere and surprising, a true alternative to your well-worn copies of the studio recordings.

London-bred singer Estelle's stateside debut, Shine, is heaving with catchy, instantly likable hip-hop/R&B/ pop songs produced by the likes of Will.i.am, Wyclef Jean and Mark Ronson, to list a few, and featuring Kanye West and Cee-Lo, among others.

Ghostface Killah is as wickedly esoteric as ever, Method Man sounds reinvigorated and snapped out of his recent slump, and Raekwon, who's been on record decrying 8 Diagrams, is ice-pick sharp.

Although not as immediate as "Jimmy Eat World," "Futures" will not disappoint fans.

His third record with the Catholics, "Dog In The Sand," furthers the ex-Pixies frontman's recent explorations into bare-bones rock'n'roll.

Some cuts, like the cover of 'Pretty in Pink,' or the tensionless march of 'Mouse and the Model,' didn't need to be resurrected. But others, like the singalong rolling notes of 'Sorry Bunch' or 'Night Reconnaissance,' a multipart romp about middle-class vagrants, can stand with the Dolls' A-sides.

[An] uneven set.

George dives in full bore, her voice navigating his undulating road map like so many animated bluebirds flitting through a forest.

From note one, the listener is hermetically sealed into Chosen Darkness' unique musical universe where overdriven bass leads, pinpoint guitar lines and ominous synths hit with maximum impact.

Common has made a record that follows the same formula as its predecessor. Not a bad move considering the success of the four-time Grammy Award-nominated "Be."

A monumental step forward in the progression of the group's sound.

The dynamic range of Plant's vocals may have narrowed, but his emotional range has only widened, with his singing intimate and detailed throughout.

Paint-by-number grooves, coupled with nonexistent hooks and forgettable melodies, do not result in an album that requires repeated plays; that is unfortunate, since a few Timbaland-produced tracks demand just that.

[It] rocks harder and is more diverse than its three predecessors. [18 Nov 2006]

This confident piece of work is like mannah from the heavens for college rock fans, freshening up loose, rhythmic song structures with a charming lo-fi aesthetic.

While there's not a bad one in the bunch, once you've heard LaMontagne loosen up, you're left starving for more of it.

The songs here hit with a full-on assault of crunching guitar riffs, distorted, cracked vocals and walls of disorienting feedback, while lyrically, frontman Ben Gibbard visits the moodier and darker corners of his mind.

Dark yet delectable, Velocifer suits Ladytron just right.

Arguably Mellencamp's best album since 1987's The Lonesome Jubilee and 1983's Uh-Huh.

This is a showcase of a hugely important American artist at full power.