Party Music doesn't really break much new ground for the Coup; it's more a consolidation of their strengths, touching on a little bit of everything they've done well in the past.

Equally cerebral and hip-shaking, with pulsating grooves and webs of intricate adornments tangling for an otherworldly type of psychedelic dance music.

for a few overblown performances and quasi-epic productions, It Ain't Safe No More finds Busta Rhymes with the same sure grip on his distinctive personality.

At times, the production is so even, the music simply flows out of the speaker without distinction between tracks, but the result is a record that holds together as a nice mood piece while holding up as individual songs.

It's honest and raw in the sense that McCulloch is cool with where he's from and unconcerned with where he's headed.

By not taking the easy way out, Ready for Love is a successful experiment that nudges at John Hammond's limitations while satisfying his recently acquired, larger fan base.

The results are sure to please longtime fans, while possibly reeling in a few folks who were turned off by the sonic excess of Dinosaur Jr. at their most punishing.

And though it is a disappointing record compared to the group's high-flying previous albums, it displays Underworld's talents well.

Silver Lining is ultimately a showcase for exceptional singing and riveting backup work.

Choosing from a wide variety of Waits' material, Hammond infuses these unusual tracks with a bluesman's spirit and a crackling energy that practically reinvents the songs, instilling them with an ominous, rhythmic swampy feel.

Imperial Teen is clearly evolving into a group of subtler, more nuanced songwriters.

Since We've Become Translucent isn't always the Mudhoney you remembered, but the album clearly carries the stamp of the band's personality, and shows the group can still rock out while pulling a few new tricks from its collective sleeve.

The band's brash and passionate attitude is clearly defined and witnessed in the music of this indie release, keeping the best of indie post-rock alive and kicking.

This Is the Moment is both the best Donny Osmond album ever made and conclusive evidence that the former teen idol, who was 43 when it was released, is never going to be more than a pleasant, modestly talented singer.

Simple, subtle, and quite beautiful, the 37-minute album rewards during deep concentration and as use for background.

While the heft of the Pharcyde sound is diminished slightly by their broken circle, this is an emotionally tangible album that combines delicate content with tight production.

Moore has a great set of pipes, a mix of the throaty take charge style of Toni Braxton and the soft vulnerability of Janet Jackson, an undeniable sexiness, and a real emotional conviction that lends the songs an authenticity absent in many current releases. Still, with all that she has going for her, Exposed only manages to be a hit and miss record.

While the trademark sound is still much in force, group mastermind RZA jettisoned the elaborate beat symphonies and carefully placed strings of Forever in favor of tight productions with little more than scarred soul samples and tight, tough beats. The back-to-basics approach works well, not only because it rightly puts the focus back on the best cadre of rappers in the world of hip-hop, but also because RZA's immense trackmaster talents can't help but shine through anyway.

There are moments of pop pleasure here, surrounded by spare, languid electronica sections, vaguely reminiscent of the High Llamas.

A fantastic new album.

This is a strong release, reminiscent of Hard Wired or the best moments of Flavour of the Weak.

Iron Flag focuses squarely on the Wu's immense, twin strengths: bringing together some of the best rappers in the business, and relying on the best production confederacy in hip-hop (led by RZA) to build raw, hard-hitting productions.

Hard to imagine Green Day or Rancid having anything this interesting up their sleeve 27 years down the line from their first recording.

They've got a rough, nervy, lo-fi take on power rock that has the weird immediacy of the Microphones' Mount Eerie.

Answers has a heavy downtown spirit, with standard instruments played in a unique fashion, and an aggressive interplay that's nearly antagonistic.

There is undeniably something almost romantic about the duo's newfound acceptance of relationships, even if the main evolution is that they now view them as a necessary evil, rather than simply evil.

Some listeners might suggest that an album this varied has an identity crisis, but with standout tracks as glorious as the Dylan covers and the Eno closer, Frantic is a fascinating addition to Bryan Ferry's accomplished discography.

A good, professional rock record, one that sells their sound as if it was as the most commercial imaginable, resulting in one of their most consistent albums.