As with nearly every Biosphere album, this one contains far more depth than it seems at first, so one shouldn't shrug it off if it doesn't cohere on the initial listen. It's music to get lost inside.

His music is remarkably creative and avoids sounding like a cheap novelty, or the audio equivalent of an ill-conceived Halloween costume.

Their exploration and exposition of what lies hidden in tradition in the creation of new music make for utterly compelling--and perhaps even obsessive--listening.

If the rest of the album is a hair more mystical in scope, his wide, introspective vistas are still quite compelling.

Toy doesn't sound especially innovative, but it certainly demonstrates that Yello haven't been resting on their laurels, and at its best, the album applies new thinking in electronic pop with the melodic and production approaches that have always been part of Yello's music, for a set that's fresh but unmistakably their work.

Comforting but never dull, it's a reminder that the familiar can be just as inspiring as the foreign.

Though Never Enough certainly succeeds in providing classic infectious rock that sidesteps the often formulaic glaze of contemporary pop, above all else, it's just great fun.

For anyone who shares Dupieux's warped sense of humor and has been eagerly following his career, this is yet another fascinatingly weird Mr. Oizo album.

A bewitching album from an artist at the peak of her powers.

Blue Mountain is very much an extension of his work with the Grateful Dead, particularly Workingman's Dead and American Beauty: he's tapping into legends, then spinning them for the present day.

First Ditch Effort isn't a radical step forward for NOFX--they're still a punk band who smirk more than they shout--but it does successfully take them into a more thoughtful direction, and shows they can mature just a bit and still be themselves.

Stay Together is undeniably upbeat and revels in its conviction to make you move.

They aren't necessarily breaking new barriers here, but that's not really what Alter Bridge are looking for. For longtime fans, there's enough heft and craft here to satisfy, while new listeners will find a solid entry point into the band's growing canon.

Little Seeds has enough going for it that one hopes Shovels & Rope will start coming up with ideas that match their skill set, but this is not the album that delivers that breakthrough.

Due to its bright, open production and quirky presentation, Heart Like a Levee is a watermark for Hiss Golden Messenger. Seldom have hard times sounded this uplifting.

Green Day have nothing more in mind than righting their ship, and that's precisely what they do.

The colorful textures and lush arrangements are a change of pace. Some fans may miss the heavier guitar attack of Commune, but the band carry off this new approach like the true sonic explorers they are.

A cathartic yet poised album, one that weighs a ton and levitates.

Songs like "Star Crossed Lovers" and "Shadows" sound embarrassingly old-fashioned and make Gibb sound ancient. A more sympathetic production style and some focus would have made all the difference on In the Now.

Transit Blues isn't a jarring turn for the Dayton, Ohio band, but it provides enough newly inspired touches to warrant attention in the group's catalog.

Broken Lines' only downfall is that it isn't as cohesively arresting as its individual highlights. Having said that, those highlights pretty much eclipse this.

Taking into account Whibley's dramatic and life-altering experiences, the hits land harder than ever, resulting in Sum 41's most honest and sincere album yet.

Three underwhelms from beginning to end.

Jones' originals feel as elegant as time-honored standards, and all her covers feel fresh. The former speak to her craft, the latter to her gifts as a stylist, and the two combine to turn Day Breaks into a satisfying testament to her ever-evolving musicianship.

Barry Johnson still knows how to write a sharp hook; they are just dulled by the lifeless production and the cookie-cutter approach. Only a couple of the tracks land.

This is the sound of expert experimenters who commence with an economical, even polite inquisitive conversation before developing their dialogue to a point where total creative and emotional expression is set free.

These are nicely captured, feel-good staples that will likely have their best moments on-stage, contracting and expanding each night at the whim of the band. Where things get more interesting are on songs like Page McConnell's "Home" and "I Always Wanted It This Way," two tracks where Ezrin's classic rock touch and Phish's progressive tendencies neatly dovetail.

Altogether, the album's palette and Jacklin's cracking, pensive delivery land her in a sphere with heavy-hitters such as Sharon Van Etten and Angel Olsen, with a touch of Lucinda Williams, making it a must for fans of thoughtful indie folk.