So it has the form and feel, but the devil is in the details, the songs that never quite hook and sometimes serve up some patently absurd moments, usually in the form of her overheated lyrics.

In that regard, this self-titled effort is often a tribute rather than a new way forward, but Reinhardt's work is nonetheless very enjoyable, a way to regather these various strands from any number of limiting genre associations and reuse them in a new fashion.

Rabid fans won't mind much; just make sure you're sold on Hell's Winter before taking this bumpier ride through Cage's inner turmoil.

this hodgepodge approach should certainly bring Alexisonfire some U.S. rock radio airplay, especially such standout tracks as the leadoff single, 'Young Cardinals,' as well as the album-opening 'Old Crows,' 'The Northern,' and the surprisingly tranquil and sweetly sung album closer, 'Burial.'

This disc does gather the duo's most-known material, including "Destiny," "Distractions," "In the Waiting Line," and "Polaris," all of which were licensed for several compilations and/or used in advertisements.

The real drums are a key here: the band doesn't sound as sequenced and hemmed-in as it did in the past; there's a messy, urgent pulse to the music. All the same, Trouble isn't that far removed from Short Bus.

Tignor's musical apprenticeship in the avant-garde world shows through as well, and between the minimalist motifs, flowing violin lines, and brass interjections, Light Science sometimes suggests the likes of Steve Reich, LaMonte Young, and Pauline Oliveros letting their hair down for a garage-band jam.

Thanks to the hooky and familiar songs, the exciting performances, and the perfectly executed aesthetic, Too Young to Be in Love is simply and truly a great rock & roll record.

All the pieces fit together perfectly for Brown Recluse on Evening Tapestry, and it's a pleasure from beginning to end.

A playful, thoughtful, catchy-as-hell pop record.

This is music that speaks of the heart, the soul, and the mind; her messages are articulate and well-crafted, and this ranks with her best work of the past decade.

A wonderful debut from a truly promising singer.

The Sean "Diddy" Combs connection adds a little too much gloss to the grime, hanging Lace Up somewhere between the underground intensity that it seems born from and the commercial overexposure that MGK seems bound for.

As far as graduations from mixtapes to major-label releases go, this one is still satisfying and a step forward, plus slicked up and pimped out in a way that's entirely Maybach.

No other artist combined such strong streetwise attitude with disarming warmth. She did it from start to finish.

As uneven as Curiosity sometimes is, its mix of goofiness and melancholy is compelling enough to make it hard to dismiss Wampire completely.

While this isn't a giant leap forward or a stunning diversion from previous releases, Hood's on a roll and it's hard not to welcome the usual power and polish

Musically, Adult Film is a smorgasbord of pop ephemera, with melodies crashing about like boozy butterflies, occasionally landing on an idea and then leaping back into the blue in search of less restrictive stimuli.

His half-hour Wave 1 EP supplies more of the robust, wide-eyed synth pop/funk for which he has been known, albeit with a few slight tweaks.

Much like the trio's studio work, the set has a unique touch that seems happenstance and carefully plotted all at once.

Some of these versions work better than others, but they're all imaginative and worthy and, best of all, they prove the producers' thesis that there is a lot to discover within Dylan's '80s catalog.

While Creative Adult's short-fuse energy made their brooding earlier EP releases exciting, they've managed the difficult task of keeping that fire alive throughout what ends up being a lengthy and considered album, burning with a dark fire for the full duration of the 12 songs presented here.

Volume X isn't quite as consistent as Trans Am's finest work, but it's still a lot of fun and will have fans anticipating what's to come between this album and Volume XX.

Even when he's screaming laughably about demon lovers and being swallowed into the bottomless pit of despair, Cowgill seems to have a meticulous eye on his songwriting skills first and foremost, keeping Fear more interesting than heavy-handed.

By emphasizing melody and feel over art and angst, Lambert's come up with a debut that goes down quite smoothly.

Often known for blending icy minimalism with textural electronics, Jóhannsson's work here is far more sentimental, telling the story of Hawking's humanity rather than his science.

Creatures is an album as wonderful as it is unclassifiable, but it is aimed at those who like warmth with their edgy art.

With only a few guest shots, plus a long track list, newcomers might find this big LP a tough go. Regardless, the ambitious Church in These Streets stands with the man's great Thug Motivation 101 while beating that album on artistic merit and meaningful lyrics.