Colossal and cinematic, the fourth record from the Herbaliser is a timely achievement in music, a genre-bending statement of creative poignancy.

Departure Lounge has forged an enchanting record to tune in, turn on, and drop into.

As with the band's previous albums, Souljacker bristles with pop euphoria and cracking production... but just like those previous albums, Souljacker ultimately falls a bit flat over the course of its extended running time.

Skyscraper National Park is an amazing record that tells its entire story with a hushed voice and subdued instrumentation, but is still more affecting then being screamed at for hours on end.

ShelleyDevoto is obviously having a blast, and while Buzzkunst is no thundering masterpiece, the blast is not at listeners' expense.

The group tries so hard to be clever and cutting-edge that it detracts from the album's strengths.

Between its fizzy lyrics, brittle guitar riffs, cheesy Casio keyboards, and primitive rhythms, the record seems very much out of touch with contemporary pop; its ebullience and innocence hark back to a time that now seems very long ago.

One can sense that she has complete control, lyrically and musically.

Easily the most satisfying Songs: Ohia album since Axxess & Ace.

Underscoring the songwriting skill he's been working at since age eight and over the course of 11 songs, he plays acoustic, folk-rock, alternative, power pop, and straight-ahead rock; his lyrics are consistently heart-sung but they aren't lite (he's got weight and bite too).

Full Moon is perched perfectly between the interesting and the mundane and is in equal parts either.

Clinic is still one of the most intriguing acts around, and while this isn't the masterpiece the band has the potential to deliver, an interesting disappointment from them is still better than a successful but boring album from a less-inspired group.

If this record came out in 1965 they'd be superstars; however, in 2002 they would have to settle for cult favorites.

Not one weak track, not one misplaced syrupy ballad to ruin the groove. The winning streak continues.

Although it peters out in its last 10 minutes, Lucky 7 is a workmanlike and thrilling if unadventurous addition to Heat's fiery catalog, and provides him with more fuel for his explosive gigs.

It’s hard to think of too many contemporary bands that are making such unapologetically sunny, pop-tinged rock and roll.

The music flows, the production doesn't overplay its hand, it's pleasingly melodic, tempering tempers the extremities of Jagged Little Pill while retaining the character and, as such, it's easy to groove on the sound without listening to the words.

As a singer, she remains pleasant and confident, but not so unique or fiery that she burns into the synapses as well as the best storytelling songwriters do.

While the mood of this record stagnates after a few songs, it does give a strong indication of Jones' alluring talents.

Returning with another studio album at the start of 2002, Steve Cobby and David McSherry busied themselves demonstrating their fluency with the wide range of sounds contemporary electronica draws on, but also revealed a few new influences as well.

Surprises are around every turn.

This music is beautiful enough to stand alone.

Under Cold Blue Ground blazes some new trails for John Rouse, but the quality of his songwriting and the emotional impact of his music hasn't changed a bit; it's a solid and satisfying set from a genuinely gifted artist.

From Here on In often meanders around, getting by on its influences, rather than seeking the necessary hooks and melodies.

A poor release.

By focusing less on quotidian (i.e., boring) experiences of the proletariat and more on less-tangible allusions to death, troubled romance, and loneliness, Wagner's music is simply more approachable and meaningful, if still hard to puzzle out in its specific intent.

Wanna Buy a Monkey? shows off Nakamura's ear for a great track as well as his deft turntablist skills.

The downside to a more refined and mature record is that some of their ramshackle charm and energy has been lost. Not enough to make the band bland, but if they take one more step toward professionalism the next record may turn out that way.

Less experimental, less distinctive, and definitely missing the production finesse of Nellee Hooper, Bloodsport suffers musically from a lack of imagination and vocally from Chris Corner's surprisingly post-grunge style of delivery.

The white-girl blues thing very rarely does anybody any good.

Melodic but samey, the songs flow into each other, creating a relaxing, seamless work that never breaks out of its mold. That said, the musicianship is of such consistently high quality that even the most lackluster tunes are redeemed by the band's innate professionalism.

Half dance party, half political rally, Gotham is a rock record for a new era.

A surprisingly assured album.

Built From Scratch is a sharp ode to old school hip-hop that focuses on the roll of the turntable rather than the vocals of an MC.

A wondrous listen that tosses jangling pop and psychedelia with such ease that you'd be forgiven for thinking he could do this in his sleep.

While there are some fascinating passages on "Souvenir in Chicago," including sections inspired by a shared love of the minimalism of Steve Reich, the piece never quite becomes a coherent work.

It certainly doesn't sound that much different from a Mojave 3 record, if not quite as excellent due to the less than prime quality of some of the songs.

A diverse, accomplished album that manages to be unabashedly emotional, playful, and ambitious all at the same time.

Certainly it's not as important or ambitious as his principal projects, but on the other hand there's less of the clever ostentatiousness that can sometimes drive you up the wall.

It’s by no means a landmark, and it’s not close to their best; it’s just well-done.

An album as much about focus and precision as its predecessor was about appropriating and reconfiguring sounds and styles into a psychedelic free for all.

This is a breath of cognac- and cigarette-scented air on an almost-dead pop scene.

The tempos might not ever exceed mid-level, and half of the songs might exceed five minutes, but the record is anything but a difficult listen or tough to wade through.

A solid, if average, album.

Dead Media thankfully brings the focus back to personal matters, and it sees a breath of fresh air introduced in the form of analog synthesizers and audio experimentation.

The musicians still churn out standard-issue heavy metal thrash à la Metallica to support Chüd's nihilistic pronouncements, usually sung in an enraged howl.

A fantastic new album.

Each song soars with intricate musicianship and melodic lushness.

Mystikal really couldn't ask for better production, overall -- all the tracks have bouncy, ass-shakin', club-ready beats, and nearly all have quite catchy hooks

If you look beyond everything that's downright embarrassing about this album -- the reliance on interpolations rather than original songwriting, the amateur-at-best rapping, the generic beats -- you'll notice a few minor improvements.

Iron Flag focuses squarely on the Wu's immense, twin strengths: bringing together some of the best rappers in the business, and relying on the best production confederacy in hip-hop (led by RZA) to build raw, hard-hitting productions.

Stillmatic is all the proof anyone needs that Nas isn't as special as he was five years before the album's release.

While it's not quite as immediate as the Snatch soundtrack or as groundbreaking as the Dust Brothers' Fight Club score, Ocean's 11 is a tight, kinetic collection of film music that's just as enjoyable outside of the movie's context.

Unfortunately, the album doesn't quite measure up to its hype and should disappoint those expecting Ludacris to top his past successes.

The wild thing is that M!ssundaztood not only works, it works smashingly -- a bewildering amalgam of sounds and attitudes that shouldn't fit together, but defy all odds and do.

This time around the beats seem darker and more synth-oriented, giving it an edge reminiscent of the bass-heavy G-funk sound.

An uneven and incoherent set of "Kid A Sessions" material that is sometimes strong but sometimes uninspired.

It's her first genuine step forward... probably the best record she has cut to date.

His strongest album since he delved into unabashed crossover with Fresh Horses.

Takes the scattered clicks and beats of Autechre and combines it with the tunefulness of Spiritualized.... Very rewarding.

It's a nice blend of the self-conscious Flowers in the Dirt and the organic, natural Flaming Pie, combining the craft of the former with the attitude of the latter.

Seems slickly over-produced and a little forced.

Like Kid A's little brother, Manic Expressive pops and gurgles through spacey, multi-textured compositions.

Party Music doesn't really break much new ground for the Coup; it's more a consolidation of their strengths, touching on a little bit of everything they've done well in the past.

While Nakamura is quite possibly one of the most accomplished beat processors in the realm of art hip-hop/electronica, his strict-composer approach on this project is occasionally inaccessible and at times unlistenable.

By shedding the smirking artifice that served Casanova so well, and hiring producer Nigel Godrich, the Divine Comedy may be treading dangerously close to the sounds of countrymen Radiohead, but the Divine Comedy are smart enough to give listeners just enough lyrical bit to throw them off the scent.

There's little doubt to Since I Left You's status as one of the most intimate and emotional dance records that isn't vocal-based.

Pretty, brittle, subtle, full of surprises, and disarming in its ability to set moods, Life Is Full of Possibilities is a masterpiece that places Dntel near the top of the heap of electronic artists working in 2001.

This easily stands alongside his first three albums as a set of classy, near-irresistible pop for listeners weaned on classic and college rock, which is a wholly welcome surprise.

Ultimately, the record runs too long, losing steam halfway through.... Fortunately, Jackson was clever enough to front-load this record, loading the first seven songs with really good, edgy dance numbers.

This is an average album by a promising band who needs to find a distinct identity.

The music is something else, sophisticated, jazzy on a few numbers, occasionally funky and varied for a rap album. But the rapping is still not quite right.

Showcases a band testing themselves by going down an untravelled road while still maintaining their identity.

Surely one of the rap game's most insightful voices.... The beats offer plenty of fresh surprises and the lyrics reflect DMX's increasing focus on introspection.

No matter the players, Alive to Every Smile is so patently a Bob Wratten album that, honestly, it sounds a little tired.

So, even if it's wrapped in new clothing, this is essentially a return to basics, and it's a welcome one, since it's melodic, stately, and somber.

Aside from all the criticism, the previously unreleased musings of Aphex Twin are still far more intriguing and solid than most producers' best releases.

This is a return to the sound of Sixteen Stone, complete with big, grandiose production propelled by ballsy grunge riffs and real hooks in the guitars and vocals.

The 74-year-old singer/guitarist rocks out furiously for the better part of the set, evoking obvious predecessors such as Muddy Waters and John Lee Hooker.

It's not something that will convert doubters, but it's done well and performed with conviction

It finds Mellencamp at a kind of peak, turning out vividly socially conscious roots rock that works not because of the message, but because the music is seductive and sinewy enough to deliver the message.

Being both ear shattering and spine tingling at once, this is Fugazi at their "musical" best.

Even for fans not needing much convincing, Get Ready is a "grower," an album whose focus on sublime songcraft and introverted delivery reveals its secrets slowly and after many listens.

Hanna straddles the line between cheeky and obnoxious throughout.

The SoCal indie cowboys deliver an album completely displaying musical, songwriting, and repertory growth from their critically acclaimed self-titled debut.

As with most of Johnston's albums, there a few songs that just fall flat or come off as a little too coy, but overall, it's a quality addition to the catalog of one of songwriting's true originals.

This is a strong release, reminiscent of Hard Wired or the best moments of Flavour of the Weak.

Able to make the timeworn themes of sex, drugs, and rock & roll and the basic guitars-drum-bass lineup seem new and vital again, the Strokes may or may not be completely arty and calculated, but that doesn't prevent Is This It? from being an exciting, compulsively listenable debut...

Cohen's poetic vision remains the dominant element on this elegiac set.

The Photo Album does not quite meet the standard set by 2000's stellar We Have the Facts and We're Voting Yes on a song-for-song level, but it's still a moving and intelligent collection of wistful pop.

Organic as dirt, and full of an acidhead's sense of space, this one's a winner from start to finish.

Performed with a full backing band, which includes guitarist Dan Sullivan from Nad Navillus, Songs: Ohia stretches out on Fantasma, allowing Molina's songs to breathe but never sounding gratuitous, like a slightly subdued Crazy Horse.

At this point they have worked through their formative stage, and prove themselves capable of delivering a solid album with diverse songwriting and a consistent style. And even if that style sounds derivative and summons the inevitable Dischord comparisons, it's impressive nonetheless.

It's unlikely to storm the charts like their first two records, especially since there aren't standout singles like on the earlier albums, but overall the record works better, perhaps their best album.

What makes it a slightly better album than Rule 3:36, though, is the album's consistency.

They sound more natural than they ever have on record, and Brian Vander Ark and Donny Brown respond by their best set of songs.

Her calm, hushed, clear singing only emphasizes the emotional torment the songs trace. The result is an album on a par with her best work.

While the acoustic D sounds better, weirder, and purer, this still is a hell of a record, particularly because it rocks so damn hard.