Just below the surface, all the quintessential Get up Kids qualities are there: melody, intelligence, and lyrical sincerity.

They have smarts and energy to burn as well as a bunch of songs that are right up there with anything Interpol, the Rapture, or Hot Hot Heat have done.

What is impressive is that the trio manages to sound contemporary using only piano, bass, and drums, and without resorting to electronic gimmicks.

Whenever Everlast lays back and spins stories and tall tales on his own, his blend of folk, rock, blues, rap, and pop culture clicks.

At least half a dozen cuts will vie for slots on a future best-of.

Byrne leaves behind all the international rhythms that have dominated his solo work and turned in an album of moody, subtle beauty.... This is one of the strongest albums of his solo career.

A soft and amiable album that frames Jones' "soft-focus Aretha Franklin" voice with a group of songs that are as classy as they are quiet.

The good stuff is strong enough that anyone who cares about Lou Reed's body of work, or Edgar Allan Poe's literary legacy, ought to give it a careful listen.

Much like the musical equivalent of Todd Solondz or Harmony Korine, Xiu Xiu set out to disturb their audience in pursuit of higher artistic goals.

As the man who wrote Pink Floyd's lyrics, he is far more concerned with their meaning than his old bandmates, and you can hear that in his singing, which is emphasized without robbing the music of its magisterial power. In fact, with a band boasting several guitarists - primarily Doyle Bramhall II, Andy Fairweather Low, and Snowy White - to make up for the lack of Pink Floyd's David Gilmour, Waters effectively recreates the sound of his Pink Floyd work.

Though the album could use a bit more grit and grime, it's still remarkably solid.

It might not make for a great listen, but its swagger and white-trash style make it the second-best record in his catalog.

The album is held back by their insistence on simple songs and simple vocals that keep the record earthbound and solely the province of the already converted.

If anything, Clones puts an end to any thought that the duo randomly selects a track from their beat bank when collaborating, since it ably demonstrates how their skills can adapt to any conceivable personality.

Mount Sims manages to kick down some boundaries and offer a throbbing, sensual slab of neo-electro that isn't afraid to offer some self-aware laughs.

If it's difficult to focus in on what FC Kahuna does best, it's probably because it's all done well.

Overall, Standards has a few detours for fans conscious of any band's "progression," but plenty of interesting songs and great musicianship for less vested listeners. Though it doesn't develop the evocative or impressionistic side of Tortoise (as heard on TNT), the band is certainly as inventive as ever

The most alluring aspect of The Platform is the array of finely-crafted beats-

This balance of elements, along with Elf Power's ragged but insistent groove, make Creatures a study of harmonious contradiction and unlikely balance.

Make no mistake: This is a country album, but it's closer to what the music might have become rather than to where it has sunk in its current doldrums.

By focusing less on quotidian (i.e., boring) experiences of the proletariat and more on less-tangible allusions to death, troubled romance, and loneliness, Wagner's music is simply more approachable and meaningful, if still hard to puzzle out in its specific intent.

In 2001’s current crop of R&B singers, Blige’s voice is truly inimitable. It’s husky, strong, soulful and full of maturity. Make no mistake, though, this lady can still flow like no one’s business...

The album's long-delayed release only makes its joyous sound that much more refreshing; its inviting mix of gentle and fuzzy guitars and Kozelek's empathetic vocals make it the Painters' most hopeful, accessible work.

Essence sounds full and rich even in its quietest moments, and her sweet-and-sour voice blends with the arrangements with subtle perfection.

Captures different shades and moods of the band's thus-far five-year career quite nicely.

With their fifth record, Blonde Redhead finally emerges from the shadows of Sonic Youth's post-punk legacy by avoiding the expected detunings, distortions, and shrillness of the genre. The three-piece manages to create a record that is subtle, tuneful, and sublime.

But even though the group perfectly defines the way that so many British art-school bands have sounded since the late '70s, in Electrelane's hands it still seems fresh.

As with most records, there's a bit of filler that could be trimmed to make a great record into a phenomenal one, but it's easy to forgive when the quality is so high.