Sleek, sensual, and retro-futuristic, the Januaries' self-titled debut fuses smooth, Bacharach-inspired pop, '60s rock, and slinky trip-hop elements into a surprising and distinctive collection of songs.

Tina Weymouth and Chris Franz have explored a stunning amount of musical styles within the confines of this album, with every song sounding like it was produced by a different group.

Indebted to hard-edged Chicago acid-track producers like Adonis and Armando, Parkes constructed brittle, distorted drum-machine breaks (instead of the usual: endlessly tweaked skittery breakbeats) and matched them with claustrophobic analogue effects, most of which hark back at least a decade or so.... In all, Solaris is just as dense and intensive a production as most of Photek's previous work -- for better, but occasionally for worse -- but the range of styles points to a more ambitious future.

Undoubtedly, this second release finally proves that BEP get to mark their own territory in the history of old-school, soulful -- and playful -- hip-hop. Because Bridging the Gaps is a terrific follow-up full of warmth.

It is one of his best in years and is filled with witty, thoughtful songwriting and polished instrumentation that works together to make a seamless album, engaging the listener.

The 74-year-old singer/guitarist rocks out furiously for the better part of the set, evoking obvious predecessors such as Muddy Waters and John Lee Hooker.

Grand and flirting at the same time with the ridiculous -- the kind of disc to listen to when you are in love.

Ten confident and smart folk-pop tunes filled with fetching hooks and engaging melodies perfectly suited to his warm, winsome voice.

It's a mature, accomplished statement for one of indie rock's most reliably miserable men.

Smart, moving, approachable, and well constructed, Nightbird is Erasure's mature masterpiece.

Fridmann's detailed sound is a far cry from either Kramer or Albini's minimalist tendencies, but his work here shows that Low can sound as good in elaborate settings as they do in simple ones.

Buck isn't a talented rapper, but he has a gift for expressive storytelling and evokes a range of emotions with his limited, mumbling vocals.

The most remarkable aspect of the Game is how he can be such a blatant product of gangsta rap (okay, let's say fanboy) and leave a mark so fast.

With Sweeney on hand, Oldham has kept some of his less appealing musical eccentricities in check -- this is one of his strongest and best-focused works in years.

To Chesney's credit, he's as appealing on this set of relaxed tunes as he was on its gleaming, ultra-modern predecessor, and taken together, they are strong proof that he's one of best singers and songwriters working in contemporary country music in the mid-'00s.

While it's just as fun as the Ocean's Eleven soundtrack was, Ocean's Twelve manages to be subtler and more distinctive in its mix of old and new sounds.

As familiar as the psychedelic reference points may be, Jennifer Gentle are able to distill them into something contemporary, or at least make listeners feel like contemporaries of a psychedelic era, both past and present.

The themes of isolation, solitude and general soul-crushing existence makes it their most blatantly honest work and helps further reinforce the notion that this is their most fully realized and beautiful release to date.

Based on pure sound, Von is just as much of a treat as the acclaimed follow-up.

The songs are wearier than ever and full of life at the same time, with each element seeming to fall into place by sheer luck.

This is one of Ladd's most accomplished albums to date, proving once again that he's one of the most forward-thinking artists around.

Overall, the Sage may be polemical on a level like few other than Dead Prez, but he also has a metaphysical side matched by few other than Jeru tha Damaja.

Haunting and affecting.

Burn the Maps is an elemental journey that tugs at the heart and sticks around in the mind.

Since her voice is clear and lovely, the songs are tuneful without being flashy, and the production is quiet, subtly layered, George makes All Rise seem easy, and it's only when the record is over that it dawns on you what a rich, rewarding album it is.

Fans of the newly resurgent psych-folk scene should definitely investigate the record and the band, too.

Ward's voice is a slap-delayed pastiche of Ron Sexsmith's easygoing croon and Andrew Bird's closed-mouth drawl, and like his front-porch fingerpicking, it's as effortless as it is effective.

Their darkly whimsical music has ties to the sweetly strange work of '90s groups like the Sundays, Sixpence None the Richer, and (especially) Belly, but there simply aren't many bands that sound like Eisley around in the 2000s.