The grim truths and fantastical tales are almost equally vivid.

Ultimately, while the album may not hit with the rockabilly wallop that marked the best of her previous work, Life. Love. Flesh. Blood is nonetheless a sophisticated and gorgeously rendered album.

Riceboy Sleeps has all the majestic calm of Sigur Ros with none of the dramatic storm, all of the lull and none of the squall.

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

It's not as poppy as some of his other albums, but it is more focused and appealing, and one of the stronger testaments to his ornery talents.

Though he's never as instantaneously gratifying as the Streets, the Roots or Jurassic 5, his efforts to continually defy convention in both production and lyrics - simultaneously looking forward to electronics and back to days of good rhymes, talent and passion - make for a rewarding, maybe even educational, listen.

She has winnowed her dueling personas -- brilliant techno-inflected DJ and haughtily self-aware vocalist -- into a fantastically complete, wildly inventive package that offers the lunatic best of both badass sides.

Get Rich isn't quite the masterpiece 50 seems capable of, impressive or not. But until he drops that truly jaw-dropping album -- which you know he will -- this will certainly do.

The release pauses for a moment of solemn reflection with the extremely vulnerable "LOST MY DOG." "SURFING A TSUNAMI" also deserves mention for its flood of ambient synths which elevate the drama. Otherwise, the release largely sounds like what fans would expect from Future.

Neatly tied together by opening and closing cuts that include Stevie Wonder on harmonica, because Ronson could swing it, Uptown Special is another nostalgic fantasy that provides light entertainment and provokes backtracking.

Fans of System's earlier work will be used to their unique brand of lyricism by now and will be more impressed with the band's ability to make a solid assortment of songs in a toned-down genre. Even with half the members.

Even if the primary common characteristic of this stuff is how exceedingly pleasant it all is, there's always a place for that, regardless of what month it is.

Sundowner recalls the more relaxed and reflective moods of Morby's earlier albums.

It might be nice to hear them amp it up a bit on their next record for a change of pace, but this works just fine as a bummed-out garage trip.

Perhaps this doesn't make for a listen that's as wild or adventurous as its companion, but it's ultimately more satisfying, as the internal journey mirrors the evolution of the pop landscape in the 21st century. What was once a rowdy, colorful party is now a soundtrack for bittersweet solitude.

Human Ceremony is an impressive debut from a band who seem positioned to make many more excellent albums if they can continue to do such a good job of mining the past for gold and revamping it in their own fashion like they do so well here.

On most of Inside In/Inside Out, the band sounds like a more energetic Thrills or a looser Sam Roberts Band, maybe even a less severe Arctic Monkeys at times.

Doom metal fans will certainly approve of Witch's self-titled debut.

Vol. 2 shows the full breadth of the group's sound, from the ballads to the rockers to the various gems in between.

An album that gives lie to the phrase "they don't make 'em like that anymore."

This may or may not be Williams' final album but if it is, it serves as a superb coda to a career that always found deep meaning in ease.

Her livelier numbers, of which there are quite a few, aren't exactly frivolous, but they have a pulse and plenty of color which, combined with album's concise running time, give Charmer the feel of an immediate, engaging pop record.

By the end, the dizzying and beautiful piece expresses the fury and unpredictability of life while maintaining a zen-like calm at its core, finding clarity just as easily as it rises to chaos.

You Should Be So Lucky is distinguished by that casual professionalism, and the album is so comfortable, so easy to enjoy that it can take a few listens to realize how deeply Tench's original songs sink in--it's not just that ballads like "Today I Took Your Picture Down" start to resonate, but the pop hooks on "Veronica Said" and the title track seem stronger and cannier -- and how soulful this whole affair is.

The result is an attention-grabbing album that reaches inward and artfully delivers vulnerable thoughts through sharply honed production skills.

As good as these moody moments are, My Wild West is best once the darkness settles, and Lissie offers nicely sculpted miniatures that feel alternately comforting and bruised, with the human touches Lana Del Rey works so hard to remove from her own music.

Slow Club's metamorphosis feels organic and, more importantly, embraced: this is their record, and the sound you're hearing is Slow Club overcoming their struggles.

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.