The set's detailed liner notes are fascinating and well written, and the music is as lovely and evocative as one would expect from Eno's ambient works.

Look Up Sharp is more forthright than dal Forno's previous work, but it still retains a deep, intriguing sense of mystery.

An impressive project that brings illuminating new perspectives to their music -- and perhaps some more artists to their listeners' attention.

Dreamstate feels like Owens' attempt at reaching the sort of mainstream success that someone like Peggy Gou has achieved, and while it does contain some worthwhile material, overall it just doesn't add up.

Other bands thinking about re-forming would do well to follow their lead and not just get back together to play the hits and count the cash, but instead create something vital and relevant; something that makes the group's continued existence worthwhile.

It's a refreshing change from the usual compilation of bibliophile, sea shanty/murder ballad, and while the Led Zeppelin III-style rural overhauling may isolate fans who prefer the serpentine, progressive art rock of albums like The Crane Wife and Hazards of Love, it opens up a whole new continent for the band to explore.

While the songs on Basic Volume explore similar sounds and themes as his previous work, they're sharper and more focused.

It's a brave, compelling collection from an artist who continues to evolve in remarkable and unexpected ways.

The fact that they waited eight years to make this impressive album demonstrates the patience and maturity of a band whose members wanted to wait until they had something worthy to say.

The production by Joe Henry is superb, matching Baez's vocals with subtle but simpatico accompaniment from a studio band that knows how to shine while making room for the protagonist. Whistle Down the Wind is a portrait of an artist who, at the age of 77, has not given up on her muse or her ideals, and while it's subtle, it's also a deeply moving piece of work that demands attention.

This is an album full of vivid imagination, and executed with the skills to make those ideas stick.

For a string band album titled Autumn, they deliver exactly what you'd want: a nuanced selection of warm, earthy music replete with gentle guitar picking, woody mandolin, muted banjo, occasional piano, and a robust vocal blend to evoke the wistful changing of the season.

Armed with his newfound sense of self-acceptance and determination, Garratt finds his voice on Love, Death & Dancing, embracing the darkness while shining some light into the shadows.

Substantial enough to require three pieces of vinyl (the CD version is a single disc with three fewer tracks), it's more outward-looking than Toeachizown, not only through its dizzying and multigenerational list of collaborators, but also through Riddick's increased ability and confidence as a vocalist who promotes positivity, whether it's blissful escape or strong-willed perseverance.

While it may not be any easier to make one's way through the distortion that James references, it is somehow easier to bear because of the empathy, joy, and contradiction in these songs.

Nothing here's likely to attract new converts quite the way those tunes did, but this is still a very easy Mountain Goats album to like and to recommend, whether it's your first or fourteenth.

Much of the liveliness of Hate for Sale is due to Street capturing the Pretenders as a straight-up rock & roll band, adding a little flair to the mix but being sure there's enough color and groove so it's not monochromatic. It helps that the songs are good, too.

It's ideal music for headphones, where the clever production can reveal all of its layers.

This is a record that buzzes with ideas, it's giddy with the noise it makes, and once its initial rush fades away, it still has plenty to offer in substantive songs and sheer sonic pleasure.

Drones is a necessary acquisition for anyone interested in Muhly's work outside pop.

Arts & Leisure is so easygoing that it's easy to underestimate, but it reveals Martin as a first-rate storyteller who captures the joys of new sights and new ways of thinking in songs full of life and humor.

Lacking the thudding beats of previous TALsounds releases such as Lifter + Lighter and Love Sick, Acquiesce feels even more somnambulant, but it's still driven along by an unexplainable force.

The combination of the airiness of the arrangements and the warmth of Mann's performance is wistfully hopeful, turning Queens of the Summer Hotel into a record that soothes and consoles during moments of uncertainty.

Since the music he's drawing from is proudly excessive, it's hard to say Palomo overdoes it, but not all listeners may be fascinated by his meta-commentary on indulgent solo albums.

On Oath, Mono's seemingly disparate, trademark elements create a universe of sound and emotion to completely immerse oneself in for a moment, an hour, or a lifetime.

The format [just over 20 minutes long] proves again to be well-suited for the singer, providing another highly concentrated shot of material that shows her moving with ease -- sometimes blurring the line -- between sensual slow jams and pop-flavored dance tracks.

Their album is all thriller, zero filler.

IAN SWEET's most consistent set of songs to date.