It will seduce anybody already won over by his 2005 debut, "Back to Bedlam," since it's a tighter, more assured record than that. But chances are, they were seduced by Blunt already.

Past a few missteps, the album is a winning embrace of hip-hop with commentaries on beefs, nostalgic pining for better days, and a positive outlook for the future of the genre.

Tthe record is focused more on the future, on creating an impression, than on immediate satisfaction, giving it an appeal that only strengthens as time goes on, and making Spirit If... another impressive, affective release in the ever-growing Broken Social Scene catalog.

H.I.M. isn't a band known for profound lyrics, but, at the same time, most fans of the band don't want to philosophize, they want to hear the group rock out, and this release shows them doing precisely that, even harder than before.

Pinback don't disappoint with their fourth record, Autumn of the Seraphs.

Washington Square Serenade ultimately sounds a bit less focused than its immediate predecessors.

There's no lull here, just fast-paced fun.

It may take a few listens before the record reveals itself as a relative cauldron of restrained emotion, but it's worth the effort.

Vocalist/guitarist Emma Pollock has crafted one the group's [the Delgados] finest efforts to date, albeit as a solo artist.

Even though Poison Trees loses some steam toward its conclusion, its maturity sets Dashboard Confessional back on track.

Aside from the occasional flourish of their post-punk gothic past, most of the record is the dirtiest and heaviest hard rock they've recorded since the '80s.

a few songs that lag a bit, this is easily Babyshambles' best work yet.

Her voice is too sweet and girlish to command, her melodies mellifluous but not grabbing--but Heroes & Thieves flows easily, and it's a nice return to the strengths of her debut.

the album is simple ear candy for those who haven't studied the band's previous releases, and sweet resolution for those who can spot the references to older songs (specifically 'Blood Red Summer') and former riffs ('The Crowing').

Not bad at all, but unless you're a die-hard fan you'll want to be a little selective.

It's interesting that while so many of these songs are peppered with faux-mystical approaches to spirituality, the album is also confessional and looks hard at itself, even if at times it seems cloying, self-indulgent, and preachy.

Ripe isn't all that different than "Awake Is the New Sleep," but it's no worse: it's equally entertaining and endearing, a modest pleasure that's a pleasure all the same.

Everything is suited for Babyface, often to the point where the songs don't sound tremendously different from what he has written during the last several years.

The good bits can get lost between the production and falsettoed harmonies. Which is too bad, because Seward has talent, a talent that definitely appears on the album, and perhaps enough of it to put him where he and his label want.

While the balancing act between the Hives' new and old approaches is a little lopsided, making this album less amazing than "Tyrannosaurus Hives," The Black and White Album should satisfy most fans while giving them a few challenging moments to chew on, too.

A more electronic, better built, and altogether better deal than "Monsters," thanks mostly to the singer and-don't-you-forget-to-mention songwriter's better sense of self.

Blackout is state-of-the-art dance-pop, a testament to skills of the producers and perhaps even Britney being somehow cognizant enough to realize she should hire the best, even if she's not at her best.

Bemis may be seeking to defend the emo genre, but his album instead illustrates the difference between run-of-the-mill emo--which, indeed, comprises most of the genre's output--and the imaginative, skillful tunes that flourish here. The only major downside is the album's length.

Things are decidedly darker this time around; although his music has always been psychedelic, Raposa's In the Vines aligns itself more with a bad trip than lazy, woozy-eyed stoner fare.

Shocking Pinks is an intriguing introduction for listeners who want to catch up with [Harte's] ever-growing body of work.

You've got to credit Brown and his songwriters and producers for cranking out another handful of easy to remember hits that cover the bases, from upbeat and carefree numbers to go-to mixtape ballads that push all the right target-demographic buttons.

While Duran Duran have worked steadily since their 1993 comeback, "The Wedding Album," they haven't always sounded as stylish and creatively tuned-in as they do on 2007's Red Carpet Massacre.

And so even though As I Am is a flawed work--a little too poppy, a little too clichéd--it is also indicative of what Keys can and will do, and that she is someone, thanks to her curiosity, intelligence, and natural talent, who will be able to mature and grow for years to come