Magic Time is one of those rare, intermittent Van Morrison records that consciously offers a bird's eye view of everywhere he's been musically and weaves it all together into a heady brew.

But for as impeccable as X&Y is -- and, make no mistake, it's a good record, crisp, professional, and assured, a sonically satisfying sequel to A Rush of Blood to the Head -- it does reveal that Martin's solipsism is a dead-end, diminishing the stature of the band.

While nobody could accuse Teenage Fanclub of taking huge creative risks, more often than not the tracks on Man-Made do resemble something along the lines of '70s soft rock group America backed by Stereolab -- which is a very cool thing.

By stretching out, the Foo Fighters not only have expanded their sound, but they've found the core of why their music works, so they now have better songs and deliver them more effectively.

The attention to detail Nobody uses throughout is staggering.

Given the strength of this album, it's hard to wait for the second part to arrive.

Cuts Across the Land is a strong, self-assured debut, even if the Duke Spirit needs to work a little harder to escape the long shadow of their forebears.

What's different here is how relaxed Elliott is, how willing she seems to simply go with what comes naturally and sounds best.

We Are Little Barrie is a stunning debut for sure, and the kind of record both old-school classic rock dads and groove-loving young kids should be clambering over each other to buy.

There's a distinct community theater vibe to the whole affair... but the majority of Illinois is alarmingly earnest.

Cole's voice is sweet and ringing, like a wiser version of Lil' Mo who has had to weather a tremendous amount of drama.

It's every bit as focused and accomplished as anything in Lanois' catalog, and die-hard fans will be wanting more long after the disc winds down.

The whole package ends up having this strangely alluring glimmer. It's like discovering California Babylon after being lost in suburbia.

Even more than some of the group's other albums, La Foret seems guided by dream logic, flowing and crashing unexpectedly.

Never have the usually mischievous Boredoms sounded this focused and, well, downright elegant really -- a masterful pairing of cosmic rock and spiritual jazz references.

The Oranges Band doesn't rewrite the indie rock handbook; more like they follow it in note-perfect style and form and in such a familiar way (Spoon, New Pornographers, Guided by Voices, Yo La Tengo, new wave influence, etc.) that your initial inclination might be to dismiss them as generic wannabes. Stick around though and you just might be won over.

It may be a remarkably summery album, but it has enough charm and depth for year-round listening.

There may be a fan favorite or two missing from the set list, but the selections are excellent overall, and it's nice to have a sample of what they sound like live, whether you've missed them to this point or just want a great-sounding souvenir.

Both intimate and powerful, Quit +/or Fight is a striking achievement.

Less Than Human might not be what a lot of people expected, but it fits its format as well as any hard-hitting two-track single, and it's a lot more functional than most other albums made by dance artists.

For all its faraway humming and quietly steady pace, Windsor for the Derby has still made a "band" album.

Rocks harder than any Crowell record in the past.

As delightfully stylish and immediate as Supernature is, it's still hard to escape the nagging feeling that Goldfrapp could make its ethereal sensuality and pop leanings into something even more compelling.

Equally thoughtful and energetic, Capture/Release shows that the Rakes have a smart, sharp voice that ultimately sets them apart from the rest of their scene.

In comparison to the dry, raw production of Transatlanticism, Plans is warm and polished, the kind of album expected from a band obsessed with the sound of Fleetwood Mac's Rumours.

Though Drawing Restraint 9 is more expansive and abstract than Medúlla, it's in a similarly challenging and rewarding vein.

Why Should the Fire Die? is a brave album that warrants more than a passing glance from country and bluegrass purists, and the full support of the indie rock/folk/pop community.

West and Brion are a good, if unlikely, match.