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

What once was futuristic now sounds nostalgic -- or to borrow a title from another member from the class of 1995, "Brand New You're Retro" -- and that's the appeal of Not Your Kind of People, for better or worse.

Cancer4Cure is about hip-hop like Glengarry Glen Ross was about sales, but these great works transcend their industries, offering solace and inspiration to anyone who would prefer a satisfied mind over a Cadillac Eldorado, or in current terms, an Escalade.

Ya Know? is a loving and generous tribute to a beloved hero of the New York rock scene, but the results never match the energy, focus, and sheer rock & roll fun of even The Ramones' lesser efforts, and it doesn't work as well as Don't Worry About Me.

Opus Primum [contains] striking passages of ethereal beauty.

Those two sounds [folk and country] are the best vehicles for the kind of solipsism Mayer engages in on Born and Raised, where he does his best to sound sorrowful and contrite yet manages to stumble upon his own deep-seated desire to remain a lover-man.

Choice of Weapon is the Cult's finest moment in 23 years; it's the true swaggering heir to the period that birthed Electric and Sonic Temple, and proof that contrary to even Astbury's stated belief in 2009 that the album is far from dead.

The Light the Dead See [is] not just an exciting meeting of troubled minds, but a well designed full-length, offering a persuasive rainy day soundtrack that works even when there's not a cloud in the sky.

Rize of the Fenix does amount to a rousing comeback for Tenacious D: they're back to their old tricks, oblivious to whether the world at large actually cares about their shenanigans.

Too bad it all falls apart so drastically when you factor in Cosentino's disastrous lyrics.

It's not the band's most immediate music, but the album's challenging mix of heartbroken words and aloof sounds rewards patient and repeated listening.

For the most part, Kimbra's invention is a marvel to behold, as her enchanting and swooping jazz-pop tones glide across a veritable feast of sounds

There's a confidence about the performances on the album that make Go! Pop! Bang! a debut full of enthusiasm and promise that will hopefully ring in the beginning of a bright new talent.

What keeps Family Perfume, Vol. 2 interesting even with its dips into overly derivative songcraft is its constantly shifting production.

While it isn't all great, most of it is, and while this isn't the best way for newcomers to acquaint themselves with Fela Kuti's music, it is an essential document for fans.

From the first notes of their sophomore LP Dismania, the grime, depravity, desperation, and sometimes fun of [New York City] come through in screaming waves.

The 13 tracks on Caravana Sereia Bloom reveal an artist who is pushing the envelope of MPB, and is taking no prisoners in the process.

On its face, this album is intended for adventurous listeners who enjoy exploring the classical avant-garde, though deeper investigation may attract others interested in sound sculptures, noise studies, and electronica, who can appreciate the atmospheric colors and shimmering sonorities of these modern masterworks.

Revolutionary stuff and absolutely no fluff, R.A.P. Music is outstanding.

This is a stronger, more mature, and more effective work than one might have expected.

True works as a whole and creates an unbroken mood and feel that is both nocturnal and strangely uplifting.

All Our Reasons is wonderfully executed, and full of excellent tunes, nice improvisational turns, numerous surprises (many of them subtle), and a warm, lively sense of engagement throughout.

Hardcore Joplin fans and historians have an excellent retrospective package which, while illuminating the process of the creation of Pearl, doesn't replace it in the canon.

This feels modern but in a distinctly '90s fashion: the melds and mashups of club music and psychedelia forecast a future straight out of 1996.

Raw but accomplished, tuneful yet noisy, on In the Belly of the Brazen Bull the Cribs are more comfortable with their contradictions than ever.

Even if these songs never grace the charts, they sound like inevitable hits and prove that Lambert is a genuine pop star who has now left American Idol far behind.

An appealingly misshapen collection of classics, contemporaries, and originals.