Her earnestness is nearly as appealing as her prettiness, a quality apparent in both her voice and her surroundings.

When White hits the target--and he does so more often than he misses--he's still a singular musical artist with a singular vision, and he's not even close to running out of stories on Where It Hits You.

Adding the pluses and minuses, it's clear that Waiting for Something to Happen isn't a failure by any stretch, but it is something of a disappointment.

Put Summer Camp in the category of bands that are too good to ignore, but too uneven to truly embrace. Summer Camp is frustrating proof of that sad fact.

The album seems somewhat patched-together compared to other Ghostface albums, but it still boasts some excellent tracks. The main problem is the blatantly homophobic and misogynistic lyrics which crop up throughout. Not that this is anything new, or unexpected, but it still mars an otherwise strong album.

Stitched together as it is, One of the Best Yet is a priceless benefaction. Premier was no doubt compelled to see it through for himself and the memory of his deteriorated union with Guru. That regard for the Gang Starr legacy is felt throughout the set, a gratifying listen for anyone who can get past Guru's incapacity to authorize it.

Person to Person is a pleasant enough listen rather than a gripping one, somewhere between enjoyable inspiration and careful exercise, a flavoring in the general indie rock milieu of the early 21st century that, for the moment, can have no greater impact.

Satisfying but rarely challenging, Quixotic is a fantastic start to a solo career, and its display of range, talent, and charm suggests that Martina Topley-Bird has an endless well of creativity at her disposal and that she is most likely destined for greater things.

Not a hint of pretense makes even the most formulaic tunes and lyrics ("Little Baby," "Party," "Come On!") seem inspired if not quite inspirational.

If you're looking for some red-hot rockabilly, the Rev is still your man, but Revival shows off some unexpected sides of his personality, and the changeup makes for some refreshing listening.

There may be some satirical, post-ironic thing going on here, but you'll be too bored to notice or care.

Funky is the surprising quality of this work, which is why the album stands out among the group's past efforts.

While the Kolars may lack the vocal pyrotechnics of their obvious influences, like true thespians, they have the moxie to make even the most mundane moments seem exciting, which supplies more than enough firepower for the aptly titled Nobody Dances in This Town, a notion that they obviously intend on remedying.

The overall effect is mercurial and uneven, but also fun and hooky as well as potentially cathartic -- especially for anyone who is over it.

A solid collection, but the shadow cast over the project by DMX's death highlights some of the inconsistencies and adds a heaviness and sense of unfinishedness that's palpable throughout.

The weird detours and stylistic wanderlust result in an album that somehow makes a lot of sense as a larger statement, with all the dissimilar sounds contributing to a listening experience that demands attention and doesn’t let go once it takes hold.

Sewn Together suggests that the Meat Puppets are following their bliss again, and if it's not quite up to the standards of their classic material, there's no question that it reconnects with the qualities that made them so special.

Thanks to its beauty, warmth, and top-rate songwriting, Cut Copy remain atop the pile of dance-rock groups in 2011, right next to LCD Soundsystem. Thanks to its beauty, warmth, and top-rate songwriting, Cut Copy remain atop the pile of dance-rock groups in 2011, right next to LCD Soundsystem.

The whole is a portrait of a collective creative spirit that sounds as unsettled and fascinating as when the original recordings were made.

Ultimately, Mia Pharaoh is so full of catchy, disco-on-the-cheap numbers that it sometimes sounds a bit like a vintage Eurovision Contest compilation--and that should be taken as a huge compliment.

It can slip into the background but it also rewards close listening because Ford captures a hazy, unsteady vibe where the future may be uncertain but there's faith that it will arrive.

It's a promising debut that doesn't skimp much on melodies or emotion, and while it might have been interesting to hear a few songs that took a step outside the comfortable bubble of sound the duo creates, what's here makes for a very rewarding listen that's always warm and very, very comforting.

While, depending on perspective, the album's a bit shallow on dignity, it goes a long way on atmosphere and seductive, despairing style.

The sound on Decency is truly an adventurous move for the group, and one that's paid off with possibly their best album to date.

Overall, Blossoms is a strong debut that distills the best of the quintet's diverse influences into a catchy amalgam that opts to shoot for the mainstream rather than stick to the same old sound.

The sparser songs here have everything they need, however, and that's the album's most impressive feat, even topping memorable melodies: a feeling of stability in the territory of loss.

Grinding Wheel never feels like anything less than vital. Overkill, or to be more specific, founding vocalist Bobby "Blitz" Ellsworth and bassist D.D. Verni, have been at this racket for nearly four decades now, and the fact they're continuing to dial up the intensity instead of resting on their considerable laurels is impressive, to say the least.

It's enjoyable yet familiar fare, and whether or not Ulrika Spacek bring anything new to the art rock table is certainly debatable, but with Modern English Decoration, they've definitely established themselves as reliable, and occasionally crafty, sonic spellcasters that reward a patient ear.