In the Grace of Your Love is the band's most powerful and vital album thus far.

The only downside to the album is that the songs begin to blend together a little by the end, but in a comfortably warm way instead of a boring, take-the-record-off-now kind of way.

Deep it is not, and its aspirations to be something greater keep it from being truly trashy fun, but there are enough energy and hooks to keep Money and Celebrity entertaining.

Everything's easy and natural, and the Stepkids sound more like purveyors of the genre than imitators. Quite an accomplishment.

Over-processed and chaotic it may be, but never bereft of invention, Complete Me is always an intriguing listen that confirms the arrival of one of the U.K. dance scene's most exciting talents.

Since he's operating on a small scale, none of this soars or rocks--the way In Reverse or Girlfriend did, respectively--yet the charm of Modern Art is its intimacy.

A quietly remarkable debut, The Year of Hibernation is equally suited to hiding underneath the covers and throwing them off to face the day.

Zig Zaj sounds more like a rehash than the entirely new recipe that music fans are undoubtedly looking for.

Keeping such a schizophrenic affair entertaining and connected is a feat in itself, and Spank Rock's second album shows that, despite long odds, Juwan can succeed on his own terms.

As a whole, it feels a bit too laid-back, especially given its nearly 70-minute length.

Hunt has outdone himself, and it's possible he's just getting started.

So judge not, indie rockers and other self-satisfied musical tribes: any way you slice it, the aging rock audience is hungry and, flawed as they may be, Chickenfoot are just the guys to feed them.

Sweetheart of the Sun is a remarkably good record that comes long after anyone may have expected the Bangles to do anything much at all.

4everevolution is an appropriately titled, subtle progression which proves that intelligent hip-hop and accessible urban pop don't have to be mutually exclusive, and in the process, Roots Manuva has produced his best record since his 2001 breakthrough, Run Come Save Me.

As with their other work, In Heaven is intriguing but not completely satisfying, but that intrigue is tantalizing enough to keep listeners guessing.

It's the Mekons' most accomplished bit of record making in some time.

MacFarlane and McNeely don't attempt to ape the pizzazz of Frank's Reprise years, nor do they spend much time with May's snazzy snap, they stick with Riddle and Jenkins, keeping things sentimental and lush even when the words crackle with wit.

It's an album that doesn't really need to peak, as it never promises a thing it can't back up, boldly and loudly.

Perhaps blink could stand to sharpen their words but it's better that they concentrated on their music, creating a fairly ridiculous yet mildly compelling prog-punk spin on the suburbs here.

It's the type of album that can be enjoyed on the surface, as pleasant background listening, or as a deeply immersive experience.

Take a couple listens, let it sink in, and then discover that Cole World is one hell of a debut.

Dee Dee had to change, the change was good, and it led to a fine, grown-up guitar pop record.

Quite simply, this is the work of a great band at the peak of their powers, and The Whole Love is a joy to hear, revealing more with each listen and confirming once again that Wilco is as good a band as American can claim in the 21st century.

Throughout it all, Rimes hits her marks with ease, and the new version of her breakthrough hit "Blue" illustrates just how far she's come--how she's become a stronger, more nuanced singer over the years.

They've managed an interesting blend of that style with the free-form structures of film soundtracking, the results of which are intriguing although rarely crucial.

Disappointingly, it's a much slicker but ultimately formulaic affair which appears to tick every current, chart-friendly sound going.

This is revolution music; worthy of dancing to, learning from, and singing along with: who says topical music has to be boring?

His debut's failure to capitalize on his unique selling point means it's likely to leave everyone else nonplussed.