The whole album feels a little too slick and reverbed-out... While there are intriguing moments in the album, it lacks the spark that So Long So Wrong had in spades, and even their few moments on the O Brother soundtrack seemed to breathe more life into the band than New Favorite does.

Squiggling past looping divas, afternoon glares, and funkadelic body bops, De Crecy manages to manufacture a trail of songs that reach for that Anglo-French brass ring with nothing but admirable gravitas.

The most natural and best record they've ever made.

Unlike most electronica We Are A & C is song driven rather than a collection of grooves and noises stitched together, and therein lies its timeless pop appeal.

With Fan Dance, Sam Phillips has made an album that proves modesty is one the rarest and most welcome virtues in pop music today.

Welch and Rawlings are at the top of their form and continue to make the best Americana recordings without resorting to drenching their albums in guest stars, but by writing and performing heartfelt songs that speak with a clear and undeniable honesty.

A truly passionate and expressive collection of songs that will live long in the memories of all who listen to it.

Aaliyah isn't just a statement of maturity and a stunning artistic leap forward, it is one of the strongest urban soul records of its time.

A smashing success that avoids sounding too retro, as Geller's beats sound readymade for roller discos and bedrooms alike.

Long Distance's successful moments make its well-groomed monotony especially frustrating: Ivy polished these songs to a fare-thee-well and invited guests like James Iha and Eric Matthews to play on them, yet they couldn't give them more individuality or emotion.

Built to Spill expands on the big sound that they crafted with Keep It Like a Secret.

Arde is a low-key affair, relying on ethereal and hypnotic arrangements and slow tempos. However, there is a distinct pop sense to the album...

It is her unbridled honesty that drives this album right into your gut.

The loosest record yet in Tindersticks' decade-long existence.

It sounds exactly how an underground sensation's breakthrough album should: bigger and tighter than their earlier material, but not so polished that it will scare away longtime fans.

It’s their tightest, freshest, most contemporary batch of songs, weatherproofed to stand the test of time.

Rooty is the second straight triumph from a pair of producer/DJs who look set to carry the torch for dancefloor electronica in the years to come.

As challenging as it may be for many to stomach the constant and incredibly explicit sex, violence, and drug references, there is a stunning album lurking beneath that deserves recognition.

The slow rumble of Nakamura's production, Hewlett's outstanding graphic model, even Albarn himself all fuse into a convincing gestalt.

Like Erykah Badu and other retro-soul artists that have followed her, Alicia Keys is trying to redefine modern R&B by injecting it with jazz and blues. In Songs in A Minor, Keys accomplishes her goal with poise and skill.

Essence sounds full and rich even in its quietest moments, and her sweet-and-sour voice blends with the arrangements with subtle perfection.

Amnesiac plays like a streamlined version of Kid A, complete with blatant electronica moves and production that sacrifices songs for atmosphere.

Fans and involved listeners are definitely rewarded with increased dividends after multiple listens, but even they may wish for an album that harked back to the simpler days of the Premiers Symptomes EP and Moon Safari.

It's a sassy section of sultry soul and urban vibratos, yet a snarling demeanor asking for a little respect also peeks through the dozen-song set list.

This time out, Eitzel has built his arrangements around spare keyboard lines, atmospheric electronic samples, and percussion loops that blend with his voice and acoustic guitar to create an effect that suggest a more spare, organic version of Portishead, or a Jon Brion production that's stuck in a blue funk. But the new surroundings suit the songs quite well...

They've managed to ignore their ill fortune and suffer through the hecklers, and have -- in the best possible way -- given listeners a 54-minute soundtrack for the paper bag scene in American Beauty.

The only drawback to Beautiful is that it's often too reminiscent of Stereolab, the pop art pastiche of Pizzicato Five, and Tanaka's own 1999 release, Luxury.

While some listeners will welcome this growth and expansion of sound, longtime fans will doubtless lament the lack of pure intimacy and calm melancholy that enveloped Spain’s first and second albums.