Normal Happiness is more in the tradition of his best work with GBV -- sixteen short songs (only one over three minutes, seven under two), with plenty of hooks, lots of guitar and no more fuss than necessary.

Release Me wipes away any memories of the band's previous work as well as any boring talk of their famous fathers, and re-introduces the band as first-rate purveyors of thrillingly fun rockin' retro pop.

While the downtrodden Fading Love was a noteworthy debut full-length from an artist who had built up a solid discography of club singles, FitzGerald seems re-energized this time around, and the excellent All That Must Be is a clear improvement over his previous release.

Uneven as it may be, Jukebox is still a worthwhile portrait of Chan Marshall's artistry.

Though it may not be flawless, it's pretty satisfying nonetheless.

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

Hopeless Romantic has an appealingly cool veneer in addition to a sturdy structure of songs. It comes on so smoothly, it's easy to overlook how the songs quickly sink into the subconscious.

Weird as it is, this is his most exciting work yet.

While the pedigree of this project is certainly strong, Inventions stands strong on its own, so although fans of Eluvium and Explosions in the Sky won't have any trouble digging into the album, being a fan of the duo's previous work isn't a part of the price of admission.

While that might mean Colors doesn't offer the depth and intrigue of most Beck albums, it does mean it's a fun confection. It's a record that's designed to be nothing but a good time, and that indeed is all that it is.

To a large extent, the music on Shine a Light confirms this to be true, proving that the band retains a remarkable alchemy that has deepened over the years.

For all their various impulses, it's clear on Valley Tangents that they do have a certain general approach to explore, just one that doesn't welcome immediate simplification.

In general, the album focuses more on texture and fluidity than memorable tunes, so listeners aren't likely to find an earworm here, but they may find themselves humming along just the same.

The album is one full of highlights, with a sad beauty surrounding it that makes these songs immediately deeper, more connective, and more exciting than anything Death Vessel has brought us before.

Fans of the first album may be disappointed by the changes, especially since the band takes most of the psych out of its pop. Those who stick around will find that Volcano is a pretty good modern pop record.

This self-produced major-label debut boldly plunders a reverb-and-white noise course previously trampled underfoot by long-gone British bands of the late '80s and early '90s (the Jesus & Mary Chain, the Verve, Ride, the Stone Roses, etc.).

A stunning comeback that will alternately horrify, thrill, and satisfy fans of Television Personalities, as well as fans of honest, real, and truly independent indie rock.

Throughout all this--both the old ways and new directions--the ever-present weak link would have to be Cronise's emotionally deadpan vocals, but, as was the case with earlier Sword albums, they ultimately don't matter as much as the group's pulverizing twin guitar attack.

What makes it great is excellent producer and guest rapper choices, a tight track list with nearly perfect flow, and the fresh G-Unit meets crunk and Lil Jon sound that dominates the album.

Those who appreciate an honest, basic record will enjoy Paloalto's simple approach.

At times a beautifully rendered album with surprisingly solid songwriting; it's an unashamedly nostalgic musical postcard from the American West Coast.

There's so much effort, Holy Wood winds up a stronger and more consistent album than any of his other work. If there's any problem, it's that Manson's shock rock seems a little quaint in 2000.

There aren't many bands around that manage to create music as good as this out of such familiar and somewhat obvious sources.

Basically, the album plays out like hit song after hit song. Love or hate the new direction, the Apples have made a long, long career out of constantly changing and reliably creating songs and albums that overflow with hooks and happiness. This may be their hookiest, happiest album yet.

Fornever is one of those rare, late-career triumphs. There are no weak tracks and it’s entertaining throughout; every bit as much as Murs’ best early outings.

The timing could be much better, but the songs aren’t bad at all, with most of the material taking its cues from Jason Mraz, Ben Harper, and other folk-pop heavyweights.

Skins is the product of an older and wiser trio than Buffalo Tom were in their salad days, but it's unmistakably the same band, and if their attack and their concerns have changed a bit with the passage of time, that's a reflection of their innate honesty as much as anything else; they simply are who they are, and on Skins that means they're a gifted and grown-up rock & roll band.

The result is easily her best record yet: a soundtrack equally comforting during a lazy weekend afternoon or a hard Monday morning.