It's the Mekons' most accomplished bit of record making in some time.

MacFarlane and McNeely don't attempt to ape the pizzazz of Frank's Reprise years, nor do they spend much time with May's snazzy snap, they stick with Riddle and Jenkins, keeping things sentimental and lush even when the words crackle with wit.

It's an album that doesn't really need to peak, as it never promises a thing it can't back up, boldly and loudly.

Perhaps blink could stand to sharpen their words but it's better that they concentrated on their music, creating a fairly ridiculous yet mildly compelling prog-punk spin on the suburbs here.

It's the type of album that can be enjoyed on the surface, as pleasant background listening, or as a deeply immersive experience.

Take a couple listens, let it sink in, and then discover that Cole World is one hell of a debut.

Dee Dee had to change, the change was good, and it led to a fine, grown-up guitar pop record.

Quite simply, this is the work of a great band at the peak of their powers, and The Whole Love is a joy to hear, revealing more with each listen and confirming once again that Wilco is as good a band as American can claim in the 21st century.

Throughout it all, Rimes hits her marks with ease, and the new version of her breakthrough hit "Blue" illustrates just how far she's come--how she's become a stronger, more nuanced singer over the years.

They've managed an interesting blend of that style with the free-form structures of film soundtracking, the results of which are intriguing although rarely crucial.

Disappointingly, it's a much slicker but ultimately formulaic affair which appears to tick every current, chart-friendly sound going.

This is revolution music; worthy of dancing to, learning from, and singing along with: who says topical music has to be boring?

His debut's failure to capitalize on his unique selling point means it's likely to leave everyone else nonplussed.

The album stays firmly planted in the post-punk/synth pop wheelhouse, which means that it's incredibly consistent, but not necessarily surprising, which could be a good or bad thing for fans, depending on whether they prefer their debut or their sophomore album.

Celebrity musical pairings rarely lead to innovation or excitement, but Duets II is an enjoyable celebration of what Tony Bennett has meant to pop music, and what he can bring out in any star vocalist he steps up to the microphone with.

Perhaps if the album actually had some kineticism to its eclecticism, or at least a hook or a tune, it would earn its wannabe evangelism, but the untrammeled indulgence turns this into a gaudy multicolored circus.

Mockingbird Time is a simple but richly rewarding example of what the Jayhawks do better than anyone, and serves as a potent reminder that they're one of the finest American bands of their time.

Entertaining castoffs, but not his best work by far.

Sweeter benefits from greater textures in his surroundings, stronger hooks in the melodies, and, for once, a sensibility that doesn't sacrifice the present for the sake of paying respect to the past.

All admirable attempts at honesty, yet these confessionals bear an uncomfortable resemblance to Lindsay Lohan's autobiographical A Little More Personal (Raw).

If Jones' performances and compositions over the years have touched on themes of yearning and the past, with a soft echo into the present day, then it stand all the more to reason why the album title and the cover art--a guitar-playing cat, looking at the moon--should sum up the feeling of The Wanting so well.

Elsie functions best as a display of Fallon's underused bottom register and acoustic songwriting skills, proving that slowing things down once in a while can still be a punk rock move.

Wolves in the Throne Room continue to do the genre proud with contributions such as this.

The album sounds effortless and truly organic in the best sense of the word, like four people blending together to make one perfectly formed sound.

Seasons on Earth is a poetic, thoroughly engaging set from a now-mature songwriter, whose confidence in her musical language is as poetic as it is authoritative.

The end effect is ultimately liberating, letting Nurses explore something more than the late-2000s indie cul-de-sac they'd found themselves in previously.

A hypnotic, wickedly sexy bit of folk-funk delivered at the tempo of a rambling, acid-soaked desert caravan, the track--as with the rest of Minnesota--leaves you pondering Jennings' poetic intent like a dark mirage spied in the late summer sun.

In addition to proving once and for all that Hughes can stand on his own as a rock & roller, Honkey Kong meets the main requirement of all of the previous albums Hughes has appeared on. It's a rockin' good time.