Actually one of the band's most enjoyable releases.

News and Tributes is a far cry from the all-out rush of fun of their debut. Ultimately, though, it's a stronger set of songs.

A laid-back and easy to digest album with no grand statements to absorb or deeper meanings to dig for, it's made up of simple songs recorded simply and sung sweetly.

As song after song of hazy quiet storm clouds roll by, it's easy to fall into an intoxicated trance that's only jostled into a dim awareness a few times by brightly strummed, very '80s-feeling guitars ("Light Through Lace"), finger-snapped basslines ("Under the Rose"), and the occasional vocal that cuts through the mist and almost delivers some naked emotion.

They're as committed as ever to rocking and having a good time, and that's something that thankfully seems to be getting even stronger the more they figure out what they're doing.

Through its short running time Krol doesn't do anything that hasn't been done before, but that's really OK. He's got energy to spare, some really good songs, and a snide, slightly wounded voice of his own. Add in how well the quick-and-dirty production style suits the songs and Turkey ends up being a fine introduction to Krol and his sound.

The Bloom and the Blight sounds massive enough that Two Gallants could conceivably follow fellow power duo the Black Keys into the big time, but emotionally, this music is as intimate as ever, and all the more powerful for it.

Although lovingly written and tightly arranged, Havasu's consistently midtempo plod and the bittersweet nature of its subject makes for a somewhat dreary listen.

The Afterman: Ascension is so ambitious it's actually a bit of a mess, but with so much here that works, this small lapse in focus can easily be forgiven.

Here we get her bright, puckered vocal attack showcased on a bevy of instantly infectious cuts.

While enlightenment through disorientation might not be everyone's moment of Zen, Eraser Stargazer suggests that Guerilla Toss is an acquired taste more listeners could develop.

Such Pretty Forks In The Road simmers, never boils.

There are few bands who play classic disco-funk with as much genuine love for the genre and care in the productions as Kay and Jamiroquai. Ultimately, it's that sense of love and good vibes that drives much of Automaton.

Knitting Needles & Bicycle Bells is the 2005 American indie rock equivalent of the kind of records the Kinks were making in the Village Green era: parochial, intimate, painfully literate, and pretty close to brilliant.

Chrisette, naturally, sounds outstanding throughout, as a supernaturally talented vocalist whose songs are nonetheless easily relatable to anyone going through a breakup--or, to a significantly lesser extent here, newfound love--but the album could have really used more rhythmic punch than a token throwback strutter.

Haley's output can be enjoyed in one-track doses or complete immersion, and it often inspires YouTube users to upload unofficial videos incorporating fuzzy, dreamlike images from early- to mid-'80s television and film clips.

The quartet knows the difference between a hook and lick, and applies that knowledge liberally on this extremely likable set of clever summery pop songs.

With sharp production and some of the better compositions Phish have managed in ages, Fuego ranks among their best studio albums, capturing strands of the frenetic, cartoonish, darkly cautionary, and open-hearted expressions that make their concerts such moving experiences, but which often get lost when the tape starts rolling.

It will be interesting to hear where Miller and his Howlin' Rain project take the rest of this trilogy, but Mansion Songs stands on its own as a portrait of Miller's considerable musical and poetic growth over the last nine years.

At no point during the album do Hamilton and crew feel like they're phoning it in, but the visceral moments are fleeting, and often tempered by melodic detours that fail to swing back around to assess the damage.

They fare better as a dancey new wave party band than they did emulating Joy Division on their album before this, but for all its energy and drive, Spirit World is light on truly striking songs.

Despite the overall trippy and feel-good nature of the set, there's enough for fans of any past era to find an entry point and enjoy the ride.

At a surface level, the album seems like more of the same kind of offerings found on GB City, but with more styles covered and improved songwriting, the album is a slight step up. His skill set as a singer, vocalist, drummer, guitarist, and bassist is very impressive.

The bottom line here, of course, is if you are a fan, you'll need this and won't debate its merit one way or another. If you're new to Kozelek, you'll no doubt be wowed by some of this and bored by the rest.

The wealth of hook-heavy pop wonders alone makes Feel the Sound a fantastic record, but the sure-footed air of confidence and self-assurance that carries the record is what truly cements Imperial Teen as more of an institution than a band.

The big difference on this two-disc set, however, is the occasional, recognizable drum pattern, mostly snare strikes or cymbal crashes, that give the rest of the music a wider dynamic range.

After 25 years, the Mighty Mighty Bosstones remain pretty much the best at what they do, and what they do remains lots and lots of fun.

Kravitz deploys all his considerable sonic skills on songs that are purposefully trashy and unapologetically fun and the result is pure pleasure.