Bazooka Tooth simply pushes too far.

A fantastic debut album that only gets richer and better with more listens, Gallowsbird's Bark is more fully formed and daring than most second or third albums from many bands.

Nickelback can now afford a little more time in the studio and a little more time to indulge themselves, and they turn out the same record, only slicker, which only highlights just how oppressively and needlessly sullen this group is.

Unlike The Juliet Letters, North never feels like an exercise, nor does it feel like Costello has something to prove.

Since the music has no melody, hooks, or energy, all attention is focused on the clown jumping up and down and screaming in front, and long before the record is over, you're left wondering, how the hell did he ever get to put this mess out?

Cheers boasts 74 straight minutes of inventive production, original ideas, thought-out lyrics, and straight-up MCing -- even if it lacks outright hits à la "In da Club" or "Lose Yourself."

Spoon and Rafter has no trouble making Ryan Adams seem like more of a farce than he already is, and it's deserving of at least half of the attention given to anything released by Wilco.

The end results are a bit unwieldy, perhaps, and not always successful, but it is interesting and certainly different than a Dave Matthews Band record.

Both records are visionary, imaginative listens, providing some of the best music of 2003, regardless of genre.

While the band still needs to develop more of its own sound, there's enough promise in stellastarr* to suggest that they might.

There's no crybaby posing here, no deployment of cliché. Even if SDRE had a hand in the popularization of the emo movement, the Fire Theft's music is much too personal to be anything other than a therapy session, both for Enigk and his musical co-conspirators and friends.

Sure, his collaborators have some of the best beats in the business. But they can't always take up the slack when Bubba's raps start to wither in the heat.

Without a doubt the most moving, ambitious, and elegant album of her career thus far.

Her confidence blossomed this time around and vocally, she's never sounded so good.

As easy as the disc is to slide into, it's far and away the least commercial R&B release of the year.

Not quite the big comeback DMX needed at this point in his quietly sagging rap career, Grand Champ regardless has its share of highlights.

The band's poppiest and most upbeat and musical record yet.

It could be the most innocent, charming and believable record of 2003.

Ultimately too derivative to fully enjoy.

She has unique phrasing and a huge voice that accents, dips, and slips, never overworking a song or trying to bring attention to itself via hollow acrobatics.

Even though Permission to Land isn't quite as metal as its singles suggested it might be, the album is surprisingly good, especially considering how bad the band's '80s metal revival could have been.

It's a little artier than Heathen, but similar in its feel and just as satisfying.

Thirteenth Step is the sound of a musical and lyrical maturity that normally doesn't occur until a band's third or fourth albums.

A swirling, beautiful, and warmly complex road trip of an album.

Those who just enjoyed the sound and feel of Room for Squares should feel right at home.

Serene and tranquil, but never uninteresting, 5 is a lovely album.

It is a generally pleasant effort, but it isn't in a class with either Hatfield's best solo output or the Blake Babies' most memorable jangle pop.

Quasi's crass sense of humor is in full force, but throughout their witty criticisms Quasi are imaginative songwriters and conscious of their curiously cool indie rock style.