While there are some fascinating passages on "Souvenir in Chicago," including sections inspired by a shared love of the minimalism of Steve Reich, the piece never quite becomes a coherent work.

It certainly doesn't sound that much different from a Mojave 3 record, if not quite as excellent due to the less than prime quality of some of the songs.

A diverse, accomplished album that manages to be unabashedly emotional, playful, and ambitious all at the same time.

Certainly it's not as important or ambitious as his principal projects, but on the other hand there's less of the clever ostentatiousness that can sometimes drive you up the wall.

It’s by no means a landmark, and it’s not close to their best; it’s just well-done.

An album as much about focus and precision as its predecessor was about appropriating and reconfiguring sounds and styles into a psychedelic free for all.

This is a breath of cognac- and cigarette-scented air on an almost-dead pop scene.

The tempos might not ever exceed mid-level, and half of the songs might exceed five minutes, but the record is anything but a difficult listen or tough to wade through.

A solid, if average, album.

Dead Media thankfully brings the focus back to personal matters, and it sees a breath of fresh air introduced in the form of analog synthesizers and audio experimentation.

The musicians still churn out standard-issue heavy metal thrash à la Metallica to support Chüd's nihilistic pronouncements, usually sung in an enraged howl.

A fantastic new album.

Each song soars with intricate musicianship and melodic lushness.

Mystikal really couldn't ask for better production, overall -- all the tracks have bouncy, ass-shakin', club-ready beats, and nearly all have quite catchy hooks

If you look beyond everything that's downright embarrassing about this album -- the reliance on interpolations rather than original songwriting, the amateur-at-best rapping, the generic beats -- you'll notice a few minor improvements.

Iron Flag focuses squarely on the Wu's immense, twin strengths: bringing together some of the best rappers in the business, and relying on the best production confederacy in hip-hop (led by RZA) to build raw, hard-hitting productions.

Stillmatic is all the proof anyone needs that Nas isn't as special as he was five years before the album's release.

While it's not quite as immediate as the Snatch soundtrack or as groundbreaking as the Dust Brothers' Fight Club score, Ocean's 11 is a tight, kinetic collection of film music that's just as enjoyable outside of the movie's context.

Unfortunately, the album doesn't quite measure up to its hype and should disappoint those expecting Ludacris to top his past successes.

The wild thing is that M!ssundaztood not only works, it works smashingly -- a bewildering amalgam of sounds and attitudes that shouldn't fit together, but defy all odds and do.

This time around the beats seem darker and more synth-oriented, giving it an edge reminiscent of the bass-heavy G-funk sound.

An uneven and incoherent set of "Kid A Sessions" material that is sometimes strong but sometimes uninspired.

It's her first genuine step forward... probably the best record she has cut to date.

His strongest album since he delved into unabashed crossover with Fresh Horses.

Takes the scattered clicks and beats of Autechre and combines it with the tunefulness of Spiritualized.... Very rewarding.

It's a nice blend of the self-conscious Flowers in the Dirt and the organic, natural Flaming Pie, combining the craft of the former with the attitude of the latter.

Seems slickly over-produced and a little forced.

Like Kid A's little brother, Manic Expressive pops and gurgles through spacey, multi-textured compositions.