If there isn't much spark, there is a surplus of warmth; the trio is comfortable and relaxed, and it's hard not to succumb to such friendly, familiar vibes.

Coves' flair for drama sometimes outpaces their ability to write memorable songs, but Soft Friday's best moments are so good, and its overall sound is so vibrant, that it's a more than promising debut.

The use of production and electronic treatment amplifies almost all of the tracks here, creating interesting pockets of unexpected tension and menace in what would have otherwise stood as somewhat straightforward compositions.

In spite of the extremely high expectations, he has managed a pretty neat debut that will please fans who have been waiting since his early singles.

Call it sustainable punk--the kind that doesn't need to burn out or fade away.

Range of Light's unifying theme of the Sierra range is heartfelt, and when enjoyed as a whole, the album succeeds as a unique effort that is familiar, yet distinct and extremely personal.

Once again, Band of Skulls have proven that they have the chops and the moxie, but they still need more than a handful of memorable songs to seal the deal.

Inner Fire is a showcase for the Souljazz Orchestra's depth and experience.

At 74, he is in assured command of his voice, and better understands the deeper well it resonates from.

Motion represents something different, with its first three tracks being composed and realized from the ground up in the recording studio, seeing Holtkamp move away from some of the live looping and sample-based composition of previous work.

It makes the album a true pleasure to listen to, and Physical World gives Game Preserve a run for its money as Davenport's best stuff yet.

This band's disciplined, sensitive unity expresses Adams' fresh, expansive musical vision with elegance and grit, humor and pathos, tenderness and sensuality.

Cope is more than just the sound of a band getting by; it's the sound of Manchester Orchestra at their best.

While Hot Dreams is slightly less immediate than Creep on Creepin' On, its potent cocktail of menace, glamour, and vulnerability is nothing less than transporting.

With more memorable tracks and a slightly more accessible feel, the album is less distracted and more tuneful than before without losing any of the freewheeling spirit that made his songs and persona so attractive in the first place.

There's a refreshing, devil-may-care cavalier attitude to Education, Education, Education & War that eradicates much of the desperation that was beginning to creep in after 2007's Yours Truly, Angry Mob, but it still doesn't change the fact that you've heard it all before.

Miles at the Fillmore - Miles Davis 1970: The Bootleg Series, Vol. 3 is an essential addition to the Davis canon.

Just Because doesn't break down any walls in its bid for pop/rock superiority, but with voices this pure and earworms this painless it doesn't have to, as the Gruskas have crafted a timeless-sounding collection of songs with contemporary tools, and most importantly, they've done it with finesse.

Even if it's not quite as striking an achievement as WIXIW, it's a lot of fun and shows, once again, that Liars are unquestionably themselves no matter how much they push their boundaries.

Dissed is the kind of record that feels like it came out of nowhere to blow minds, and even though you can trace it clearly when you check out his previous work with the band Ovens or early solo recordings, it trumpets Molina's arrival with 12 short blasts of perfection.

Some of these versions work better than others, but they're all imaginative and worthy and, best of all, they prove the producers' thesis that there is a lot to discover within Dylan's '80s catalog.

In a lot of ways, Stereolithic sounds like a classic 311 album.

Strangers wavers between the sad and joyous sides of life, but Felice finds something out of the ordinary wherever he looks, and this record confirms this drummer just so happens to be a songwriter and frontman of the first order.

What underlies the handclaps and radiant melodies on their sophomore album Divisionary are songs that noticeably delve deeper into philosophical and darker themes than the wide-eyed optimism that engulfed their debut, and marks the evolution the band have undergone.

[It] doesn't necessarily mean that every cut is cohesive but Shakira is the rare pop star who can pull an album together through sheer force of personality.

Imperfections aside, this is a strange, oddly compelling addition to his catalog.

The lush, colorful songs combine orchestral arrangements, choirs, drums, and a variety of singers in an ambitious multinational pop collaboration.

Issues put enough of their own spin on things to feel like something new, which feels like a praiseworthy accomplishment in an increasingly homogenous genre.