Some of their best work in nearly two decades.

It's certainly the group's most cohesive album in ages.

The album is a showcase for Cash's trenchant, soul-baring songs about love and mortality.

Whether Finding Forever surpasses "Be" is a matter of individual, song-for-song taste: At worst, it's on par--a laudable accomplishment for a veteran now 15 years into his career.

As a player, his bold, midrange-heavy tone complements his most nuanced vocal performances.

You'd buy this album for the same reason you buy Robyn Hitchcock, for the observations, sardonic-ism, and sarcasm--not to mention Eef's singular, strained voice.

Nocturama feel[s] messy, unpredictable, and even a little dangerous--qualities Cave's music hasn't had in far too long.

Reverberate[s] with the wistfulness and introspection that have forever been his trademark.

Slideling is McCulloch's best solo offering by a distance.

Seven's Travels features some of Ant's most adventurous and assured production.

It's this lumpy consistency that ultimately lets them down, but this is a laudable effort from a band on a decade-long roll. [Amazon UK]

A fabulous collection of delirious, dizzy alt-pop.

Nearly thirty years after her debut with the Banshees, Siouxsie can still sneer and storm as fiercely as ever.

Say what you will about influences on sleeves, this is pop music at its best: nostalgic and angst-ridden, but ultimately life-affirming. Shout Out Louds have found a winning formula.

[A] provocative, if slightly uneven, album full of quirky lyrics and some irresistible melodies.

It doesn't even matter much that he's a B minus rhyme spitter, or that he spends way too much studio time name dropping.

The group has balanced its studio ambition with just the right amount of real world restraint, coming up with a disc that actually improves on the first while maintaining the trio's wry quirks.

Keyshia Cole proves for a second time--for sure and way beyond the shadow of a doubt--that she's headed for Mary J. Blige-style hugeness.

Although not quite as towering an achievement as 2002's Grammy-nominated Walking with Thee, Visitations keeps Clinic at the tip of modern popular music's shrinking creative vanguard.

His most straightforward country music to date.

[Dulli] treats them all with the same ravenous intensity.

It’s an unpredictably bipolar record with plenty of mood swings and emotional shifts that will ultimately leave listeners with feelings of euphoria.

The singer's gentle vocals and Spanish-meets-classical guitar style make a quietly compelling match, especially so on his sophomore CD In Our Nature, easily the best work--either as a solo or contributing vocalist--that he has released to date.

Some of the dreamiest pop to emerge on the U.S. side of the pond in recent years.

On first listen, Taking the Long Way seems too somber--in need of a bit of levity and more than a couple of uptempo songs (like the sexy, '60s-flavored "I Like It") to resonate for the long haul. It also seems to lack the writing quality that Darrell Scott, Patty Griffin, and Bruce Robison brought to Home. But on repeated plays, those concerns dissipate.

The Purple One has reconnected with that deep vein of funk after experimenting with his splendid and messy excesses since the cusp of the nineties, and turned out his best album since 1987's "Sign of the Times."

While the raw, raging blues of 'Red Is the Color' ranks with Earle's most powerful music, 'Satellite Radio' could well be the slightest (as well as perhaps a plug for Earle's own radio show), but the artist's willingness to take chances attests to a restless creativity that refuses to be corralled.

Features the kind of envelope-pushing fans have come to expect.