Between the Senses rests with honesty and a tenderness similar to the likes of the Verve, but without pretense.

The expansive sonic palette of Pelo bears little resemblance to conventional pop sensibilities of any stripe, instead most closely recalling German electro-alchemists Mouse on Mars. Even more remarkable is that the album's innovations don't come at the expense of the Navins' vaunted melodicism?

Neither a retreat nor a leap forward, Instant 0 in the Universe is pleasant and nowhere near as trying as some of the group's recent work, but it's one more Stereolab release that is equally difficult to dislike or fully embrace.

While the album lapses occasionally with a couple of patches of redundant production, Date of Birth is a strong follow-up from a crew who keep it real by nature.

Because the sound is of paramount importance, this does succeed as pure radio-ready product, which is enough for Sparks to sustain her momentum if not enough to give her some kind of identity to build a career upon.

At their best, the Dears make music so beautiful that you can sometimes forget how bitter and resigned they seem to be, and Lovers Rock works the "pretty music about ugly emotions" angle as effectively as anything they or their peers have done in ages.

It's this Grand Royal mish-mash style of mixing genres that makes this such a fun, cartoonish, joy ride.

The mellow vibes are appealing in their own lackadaisical way, but as the short LP approaches its conclusion it's hard not to wish there was just a little more discipline, perhaps enough to sculpt these pleasant sounds into full songs.

This is Christmas music that can be enjoyed by those who otherwise loathe it.

On Last Night, Moby is as blissfully out of touch with modern club music as he is current.

The input of all three musicians can be heard from front to back, through swirling layers of ever-shifting sounds and trance-inducing sequences that escalate, expansive and borderline theatrical, with shifts between light and heavy that occur gradually more often than abruptly.

At this point in his career, his best move is to take these types of risks, and when he does so on the ten-minute closer "The Man Who Laughs," with its underlying orchestral score by Tyler Bates (composer for the Halloween remakes The Devil's Rejects and The Watchmen), the results are compelling and unnerving in a good way.

It's a lot like "Jagged Little Pill," but musically this is far closer to the muddled mystic worldbeat of "Supposed Former Infatuation Junkie," thanks in large part to her collaboration with Guy Sigsworth, best known for his productions with Björk and Madonna.

Ultimately, it's a flimsy album; though it's pleasant enough as background music, upon closer listening it falls apart.

Time to Die is far from a bad album, but unpredictability still suits the Dodos better than trying to fit into a more recognizable indie rock mold.

This absurdly overstuffed synthesis is unmistakably Muse's own, so thunderous it drowns out any good intentions the band may have had.

The album cements the band as a love-them-or-hate-them proposition, but the Fiery Furnaces remain true to themselves.

Though the Manchester duo might not be completely on par with the bands they emulate, they more than earn an A for effort while crafting some wonderful melodies along the way.

Unfortunately, Fear Yourself's intricate, careful sound results in a rather bland album.

The Ragpicker’s Dream is a restrained success, at least on its own terms. It may not please some of Knopfler’s old “Money For Nothing” fans, but at this stage, he’s obviously not trying to.

By far the most engaging album yet from Mono, Walking Cloud proves that the band is an entity unto itself.

Luckily, the sound of the band remains unchanged, and as one of the best drummers in the business, Portnoy picks up the reigns and rides the Deathbat's double kick in complete synchronicity with Gates, Christ, and Vengeance.

For Shelton's fans, this is a whole helping of what you like best, and it's carefully formulated to be exactly that.

Beaus$Eros is fringe listening.

Apocalyptic Love never tries too hard, so it winds up satisfying on its own limited scale.

With Monster, Kiss hit the mark best when rewriting the sound they developed as youngsters and when they keep it simple, predictable, and fun.

While certain songs definitely stand on their own, the ability to capture a feeling throughout is what makes the album memorable and worthy of repeat listening.

Portico still holds appeal for ambient music fans and those who embrace the fringe, along with Portico Quartet regulars who might find this trio's temperament a bit different, but the musical textures will be familiar.