It's all well and good, but we've mostly heard it before.

With few female MCs truly representing these days, Northern State's "All City" is a breath of fresh air.

His delivery is intoxicatingly smooth, even if his lyrics travel all the usual exhausted topics.

Lovebox veers more toward the rock and soul spectrum than previous efforts.

The 77-minute-long "Frances" unfolds upon multiple listens, sometimes threatening to collapse under its own pretensions (meandering musical passages, sound effects), but ultimately, it is an ambitious and rewarding album.

The album is front-loaded with these relatively energetic tracks. Much of the rest ('End of the Land,' 'Song of Home') is resigned, reflective and spiritually attuned, but not always keenly focused.

A good old-fashioned mod-punk'n'roll record--nothing more, certainly nothing less.

His ambitions and self-awareness have grown nearly as much as his net worth. [2 Dec 2006]

This debut can't quite capture the wide-eyed euphoria of a Klaxons live show, but readymade anthems like "Golden Skans," "Totem on the Timeline" and "Magick" will energize dance fans and rockers alike.

Anyone expecting something akin to a new Björk studio recording may not enjoy "Drawing Restraint 9," but taken at face value, the disc is a rewarding sidestep. [27 Aug 2005]

Equally stands as Six Organs' most accessible and complex collection to date.

That this album could just as easily have come out in 1985 is no detriment to its consistently entertaining songs. [24 Feb 2007]

Sonic sap threatens everything here, but Edmonds usually manages to stave off Hallmark ickiness with an ear-tickling detail or two.

Although the album tends to meander at times, with too many similarly arranged tracks clumped together, the individual highlights here are inspired enough to make "The Covers Record" a unique work in its own right.

Their most organic-sounding album since 1995's "Clouds Taste Metallic."

An ambitious, aurally rich suite of storytelling songs.

Two things hold the set together: Mark Bell's quirky, other-worldly production and Dave Gahan's still-haunting voice, which has never been more agile.

Though a few tracks like 'That's How People Grow Up' fall back on overused Morrissey formulas, others like the Latin-tinged 'When Last I Saw Carol' add welcome variety.

Its most fully realized set to date.

The music's full of warmly engaging jangliness throughout, even if some of the 19 tracks tend to blend together.

A mostly sassy'n'snotty affair on which she sounds even younger than when her debut album, 2002's "Let Go," went multiplatinum. [28 Apr 2007]

A couple of tracks sound derivative, but for the most part fans of the duo will embrace this album as well as the twosome's maturing sound.

Gone are the trip-hop-skewed beats, gone are the electronica mood swings, and gone is the band's signature downbeat vibe.... In their place are sunny rhythms, buoyant melodies, and hip-twitchin' beats...

Another eclectic musical trip.

On "Mad Season" the band serves up another slick collection of R.E.M. and Pearl Jam-influenced post-grunge classic rock tailor-made for ubiquitous radio play.

It's difficult at times, though, to pick out one song against another and some tracks are too same-y or too heavy-eyed for a second glance.

Despite these minor flaws, "The Hunger for More" serves its purpose in establishing Banks as a new voice in hip-hop.

Smacks of pure aggression, the kind which made household names out of such groundbreaking labels as SST and Amphetamine Reptile.

The lyrics hold their own as comedy poetry, and the album as a whole is stuffed with feel-good laughs.

"Blueberry Boat" will confuse first-timers with its cartoonish feel, but repeated listens start to reveal the subtle complexities that each song brings to the table, regardless of their seemingly short attention spans.

Her writing can be exceptional.

Sum 41's most mature album to date.

Most of the proceedings are fairly clean-cut and midtempo, with guitars only intermittently attaining heavy density. [5 May 2007]

The Kooks aren't exactly redefining the sound of British pop/rock on their sophomore album, but they certainly aren't giving it a bad name either.

All in all, the effort has more space, less atmosphere and gets right to the point.

The garage band feel of the album—which was, in fact, recorded in a garage—breathes new life into Mellencamp's common-man themes. [27 Jan 2007]

As a singer, J.Lo sounds more confident, as she takes more chances with a voice that is technically limited but well-suited to the material she handles.

While this album does not break new ground, it focuses on a fun and playful Prince whose turn of phrase and instrumental dexterity call to mind why we embraced him in the first place--and still do.

There are enough different feels and flows to dazzle listeners with Kweli's dexterity, but some judicious editing could have produced something perhaps even more impressive.

On her sophomore set, Solange not only takes on a sound that differs from her pop-driven 2002 debut, but demonstrates that unlike her sister Beyoncé--who she vehemently refutes comparisons to on 'God Given Name'--she has no reservations about sharing personal experiences.

Dig Out Your Soul, however, is the sound of a band rediscovering its snarl.

A testament to the singer's versatility and musicianship.

Surprisingly, a middle-aged Cube still packs a youthful punch when it comes to the gangsta tales. [3 Jun 2006]

Slower paced and more atmospheric than any of its predecessors, "Dusk" is an ambitious showcase of maturity.

It introduces enough intriguing new elements (Japanese instruments, British guest vocalists) to earn its place in the Air canon. [10 Mar 2007]

It's hard to find fault with such a well-crafted record, but one does wonder what would happen if the Jayhawks cranked up the amps a notch.

[It's] quintessential Shania, light as vapor, sweet as sugar, rendered with personality and undeniable charisma.

He doesn't break any new lyrical ground, but Kelly's talent for penning original, infectious grooves remains intact.

"Feels" is by far the most agreeable Animal Collective yet, but whether or not that's a good thing is for you to decide.

Renaissance finds Richie in an oh-so-contemporary setting, encompassing uptempo dance, Latin-hued and funky pop, and power ballads. It also finds him working with such hitmaking producers as Rodney Jerkins, Walter Afanasieff, and Brian Rawling and Mark Taylor. While this may sound like a farfetched concept on paper, it works surprisingly well on disc -- albeit without breaking any new ground.

This "Tiger" is fairly tame, but that's OK. [30 Jun 2007]

The band's addictive hooks and memorable charm are far from dismissive.

It may not pick up many new fans or even appeal to those beyond Cave's core audience, but these guys sound like they're having too much fun to care. [14 Apr 2007]

Several songs near the end go on too long, content to just keep repeating riffs over and over. Still, when Autumn is on point, it offers some of Pinback's best tunes yet.

Much like KOC's albums, which tend to fade into the background as sonic wallpaper, the IKEA-sterile mood of "Unrest" does grow less distinctive by disc's end.

While Light of X seldom soars, it certainly cruises at a pleasant altitude.

As expected, there's plenty of ass-kicking country on Wilson's third album, but it's her softer side that sets it apart. [19 May 2007]

Hope & Glory"--which contains 11 covers and one original--is rich in pleasures, even if it plays more like a highlight reel than a thoroughly imagined work.

"This will be a better year," sing the Shakes on 'Strictly Game.' If based purely on the imagination shown in this innovative album, it will be.

His most accessible and engaging CD to date.

Be forewarned: There's not much along the lines of "Island in the Sun" here.... Still, there are plenty of smart hooks and catchy vocals throughout.

Smith and her trusty band largely strip arrangements bare, lyrical and emotional content taking center stage. [28 Apr 2007]

Sia's songs are quiet, intimate and melodic. [21 Jan 2006]

Sadly, Beck's delivery on "The Vagabond" is a tad misguided; his spoken words on "Don't Be Light" are slightly better, but one wishes that he would simply go with the flow and not try so damn hard.

Riley's clearly shooting to become hip-hop's answer to Billy Bragg or Steve Earle, and he's getting there. His ambitions outweigh his results, but there's very little about his "Weapon" that won't spark a response.

An album that proves being rich and famous doesn't always blunt a band's creative appetite. [31 Mar 2007]

JSBE fans will recognize this rechristened and evolving Blues Explosion and are very likely to enjoy it just as much.

There's nothing here you haven't heard before from Rise Against--or, indeed, from Bad Religion before that. But producers Bill Stevenson (of the Descendents and All) and Jason Livermore keep the music moving at a breakneck pace that gives everything the gleam of urgency anyway.

At times, the misery borders on cliché, but luckily, "Quarry" sports some of Morrissey's most direct vignettes in years.

Although the mix of dance beats, pounding basslines and palatable vocals is occasionally marred by mundane R&B tracks like "Until the End of Time," there are far more pop gems than slow jams.

The rest is closer to the Coldplay we know: a competent blend of heavily orchestrated redemption songs ('Viva La Vida,' already the biggest hit of the band's career), swirly arena rock ('Lovers in Japan') and life-stinks-without-you ballads ('Strawberry Swing')likely to resonate despite the new bells and whistles.

The Caribbean-flavored 'I Can't Stay' and the Duran Duran-lite 'Joyride' are much more perplexing, as is the looped chanting that anchors 'This Is Your Life.' If nothing else, this band keeps fans on their toes, and they're likely to buy in for another round.

Each song is meticulously constructed, and feels like a musical soundtrack to lush, magical worlds.

Chesney shows development here as a writer, and past success ensures him top-shelf material.

Walking With Thee feels more like a transition record than a definitive statement in its own right.

It's complex and distorted, but at times it's not clear why the group's energy is purposely restrained.

A breathtaking refresher in all things Mos Def.

[A] pleasant surprise of an album.

The overall mood is a bit more pensive and solemn. [26 May 2007]

The group stays true to its avant-garde musical roots with Set 'Em Wild, Set 'Em Free, the noisier, louder follow-up to 2007's "Love Is Simple."

Though its novelty diminishes more with each listen (with the first being the freshest, most energetic romp of them all), "Bang Bang Rock & Roll" still stubbornly continues to amuse.

As she evolves, Spears is wisely sticking with age-appropriate material that her teen constituency can bond with.

For the most part, "Mr. Beast" finds Mogwai quite comfortable in a genre they've helped define.

A lovely set of pop-flavored neo-folk. [11 Feb 2006]

Succeeds in cutting John loose so that he sounds like he's doing it because it still matters.

While 'Troublemaker' and 'Holla Holla' each sound a lot like prior Akon songs (the former like Kardinal Offishall's 'Dangerous,' the latter like '07's Akon/T-Pain pairing 'Bartender'), ultimately they're highlights for that very reason.

So, yeah, the New Year sounds an awful lot like Bedhead, but who can really complain?

Despite a few lyrical missteps ("Future Pt. 1"), "Voxtrot" is generally insightful and emerges as a promising debut. [26 May 2007]

A curious amalgamation of styles that is ultimately quirky and compelling.

Since barreling into parts unknown, the further advances made by Sean Booth and Rob Brown have been subtle at best, and the most intriguing sounding bits of their eighth album, "Untilted," usually arrive in the midst of something more familiar.

Not that the band's blend of metal; world music; jagged, breakneck rhythms; and non sequitur lyrics don't still connect, but it is nowhere near as dazzling as it was on its first two go-arounds. [26 Nov 2005]

Full of breezy vocals and sunny instrumentation, this album redefines beach music for the new millennium.

Offers a more diverse song mix than one might expect. [18 Nov 2006]

Like last time, the singles are better than the whole. [31 Mar 2007]

As he did on last year's "Mail on Sunday," Flo Rida spends most of these 13 pop-rap confections pondering the finer points of his growing bank account and his incomparable way with women. The best cuts are those that mirror the MC's usual themes with even more familiar sounds.

Predictable, perhaps, but such aural connections rarely fail as a crowd pleaser.

Musically, the album is more languid than earlier efforts without sacrificing the urgency of her patented guitar pluck-strum.

"Wonder" isn't as immediately accessible as any New Pornographers album, which may turn off some fans looking for another set of sugar-coated rock. Nevertheless, these compositions also demonstrate Newman's immense talent, which ensures any monotonous patches on the album are quickly redeemed by far more interesting sonic departures.