Some may call that predictable, some may call it reliable, but there's little arguing that Afterglow is a solid effort -- it won't win new fans, but it will certainly satisfy the old ones.

The bottom line here is that Kozelek's aesthetic with Sun Kil Moon may not be radically different than his RHP project, but it is moving, graceful, and consciously beautiful.

The artifice outweighs the substance throughout Rock n Roll.

Skull Ring doesn't always capture Iggy at his best as a lyricist, but here what he says isn't half as important as how he says it, and he hasn't sounded this right -- and had music this potent backing him up -- in a decade.

There are only two quality songs, a lot of redundant trash-talking, and an overall sense of ridiculousness that pervades.

Explosions in the Sky doesn't shift as suddenly or jarringly on Earth Is Not a Cold Dead Place; the quartet has applied more structural predictability this time out, but is still quick about setting the sad butterflies in your stomach to fluttering.

At times a beautifully rendered album with surprisingly solid songwriting; it's an unashamedly nostalgic musical postcard from the American West Coast.

Keith is happy to be a dirty old SOB, cracking jokes, drinking beer, and flirting with the ladies, and that makes Shock'n Y'All a fun, rough, rowdy album that wins you over despite your better impulses.

In many ways, the Cambridge, MA, trio is like a Toad the Wet Sprocket for the 21st century.

More quintessentially "metal" in his approach -- think Metallica -- and more of a conscientious technician than Marcos, Truby unfortunately lacks some of the unexpected spark that Marcos brought to P.O.D.

The Instinct is both adventurous and accomplished and ambitious enough to suggest that this band is going to continue to push the limits one album after another.

This compressed feel, the precision of the band's playing and arrangements, and the way every song comes to an abrupt stop sometimes make the album sound too closed-off.

Nearly all of Wig in a Box is both unique and successful.

Given the right frame of mind, Closer has the potential to be the most powerful Plastikman album -- an alternatingly cathartic and mind-wrenching place to lose yourself in.

In short, if you've been waiting for Yo La Tengo to rediscover the amps they used on "Mushroom Cloud of Hiss" or "Attack on Love," well, this isn't quite your dream disc but it's a step in the right direction.

For simple gut-level satisfaction it's more engaging than the bulk of his post-Replacements catalog, though anyone expecting a masterpiece will be in for an unpleasant awakening.

Kish Kash may be the best dance record of 2003, but it's the least imaginative LP the duo have ever released.

Laika's typically airy atmosphere sounds more sterilized this time around.

While Coverage isn't always successful, it is always admirable and likeable, and certainly puts Moore on the right path for an interesting, successful career.

It's not as cheeky as Pulp and not nearly as abrasive as British Sea Power; however, Clearlake is equally provocative.

Everything to Everyone is probably Barenaked Ladies' most honest album -- always touching, but serious and completely open for the first time in their 15-year career.

Partly glamorous and fully imaginative.

A genuine disappointment after the creative comeback of Stereo.

This is one of the best rock & roll albums of 2003, and truly the finest, most cohesive work he did after London Calling.

Strangely lovable and lovably strange, sort of like a lo-fi version of the Flaming Lips.

These flashes of greatness don't quite add up to what could have been, but the album as a whole is still quite exceptional.

Chutes Too Narrow's breezy subtlety is less accessible than the Shins' debut, but that doesn't mean the album lacks great songs.

Coral Fang has its fair share of flaws, but it's impassioned enough to have plenty of bite despite them.