"Security" lunges in a new experimental direction every few minutes... but never strays far from the groove, nor its compelling indignation. [10 Mar 2007]

The dabbling in different sounds and textures results in a surprisingly cohesive effort for DMST, and one that successfully sustains interest throughout. [3 Mar 2007]

Mark's sound here is cohesive and unified, though a pervasive midtempo vibe and downer subject matter (it's mostly a breakup album) tend to blur together. [3 Mar 2007]

As each quiet-loud-quiet song cycles through its emotional peaks and valleys, the band considerately adds, subtracts and multiplies conflicting elements and melodies to complete the picture. [24 Feb 2007]

He stuffs "Atlantis" to the core with ambition, wicked grooves and more hooks than you might expect. [24 Feb 2007]

The set as a whole lacks variety and rarely shifts tempo. [24 Feb 2007]

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

A delightfully breezy and refreshingly hopeful chill-out solo disc. [24 Feb 2007]

Willner's soulful production, elegant and layered, recalls Daniel Lanois' work with Emmylou Harris. [17 Feb 2007]

Lerche seems headed in a promising musical direction, but not all the songs here pack the expected punch. [10 Feb 2007]

A shamelessly melodic, wild and powerful pop record. [10 Feb 2007]

Overall, this dynamic collection has something unexpected at every turn. [10 Feb 2007]

It's a concept so heady and engrossing that it can obscure the fact that "Sermon" also rocks in a way Jones never has before. [17 Feb 2007]

In each case, a brand-new track has been crafted, but some work better than others. [10 Feb 2007]

The album is laced with spacey, distorted guitar fuzz, delicate '60s pop melodies, groovy basslines and winsome lyrics that coalesce into a unified group of songs from start to finish. [17 Feb 2007]

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

"The Good, the Bad and the Queen" seems to be waiting for a payoff that never materializes.

A quietly ambitious effort that nudges the Shins' trademark indie pop into unexpected new directions.

It has the ambition, enthusiasm and intensity of an artist still pushing the envelope. [27 Jan 2007]

[It] sounds more like a continuation of Pinback's 2004 high-water mark, "Summer in Abaddon." This is, of course, a good thing. [27 Jan 2007]

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]

The disc spotlights Veloso blasting off with raw, beat-driven fuel in the company of a band of youngsters who animate and invigorate him. [27 Jan 2007]

Like its predecessor, the equally undercooked "The New Danger," there is a sense that a deadline crawled up before the music was cemented. [13 Jan 2007]

Overall, worth a spin or two, but one hopes there's a better stash left to sample. [16 Dec 2006]

His lyrics have matured past coke-slinging to the drug's effect on his life. [16 Dec 2006]

All spun together it works well, and maybe even better than on the debut. [16 Dec 2006]

Songs such as the Rodney Jerkins-produced "Make It Last Forever" and "Get Up"... are surefire club hits, although such ballads as "It's Over" tend to fall flat. [9 Dec 2006]

Despite meticulous production, "The Re-Up" retains some of the spare, raw feel of an underground release. [16 Dec 2006]

At first the beats are jarring. But like the Clipse's debut smash, "Grindin'," once it all clicks, it's unstoppable. [2 Dec 2006]

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

This mash-up, Beatles style, is cool stuff indeed, but is even more dazzling live onstage. [25 Nov 2006]

Vast in scope, rich in trope and full of hope. [25 Nov 2006]

"The Devil and God" plays its hurt with polish and panache, however, as Brand New's textured dynamics marry mood and an aggressive ebb-and-flow on nearly every track. [25 Nov 2006]

Snoop has found a happy balance between pop and hardcore. [25 Nov 2006]

Sweet and pretty. [25 Nov 2006]

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

Even though "Doctor's Advocate" has its failings, it's a prescription that comes recommended. [18 Nov 2006]

It doesn't all hit home, but at its best ("Heaven/ Where True Love Goes," "In the End," "Green Fields, Golden Sands"), this record is uplifting enough to satisfy even a 30-year thirst. [18 Nov 2006]

It is simply miserable, heavy, repetitive and cathartic. [18 Nov 2006]

Tenacious D insists it is the greatest band in the world, and on a couple occasions during this soundtrack to the duo's upcoming film of the same name, you kinda believe it. [18 Nov 2006]

[It] rocks harder and is more diverse than its three predecessors. [18 Nov 2006]

[It] flashes with moments of greatness. [9 Dec 2006]

Fully realized and largely insane. [4 Nov 2006]

For most of "Saturday Night Wrist," Deftones contentedly let their instruments wander, inventing a meandering soundscape that broods in near darkness. [4 Nov 2006]

Sure, McKay is a sonic chameleon, but perhaps more important, she is one deft (and witty) songwriter/musician. [14 Jan 2006]

It's the shimmering beauty of the title track, an overhaul of the Christine McVie-penned Fleetwood Mac tune, where Adams and Nelson's styles most seamlessly, and quite beautifully, mesh. [4 Nov 2006]

While the Who's acoustic side has always been underappreciated, Townshend revels in it here. [4 Nov 2006]

Amid all the pomp and circumstance, Loaf delivers an album fans are going to love. [4 Nov 2006]

In general, Federline enunciates well. [11 Nov 2006]

The dynamics and musicianship of songs like "Not in Rivers, but in Drops," "1000 Shards" and "Holy Tears" reveal a band at the top of its game. [4 Nov 2006]

A timeless, feel-good album that could easily slide into your papa's Sam Cooke and Percy Sledge collections, yet still sounds contemporary.

Things hover uneasily somewhere between wholesale reinvention and mere superstar vanity project. [28 Oct 2006]

"Born" loses its focus amid unabashed nods to Burt Bacharach and songs that are just not done yet, despite smart tempo changes and pretty melodies.

Enigk's vocals here are as translucent as ever.

The new set goes just far enough beyond the call of duty to warrant repeat listens.

"Play" is light-years more enterprising than Diddy's sample-happy history might suggest.

There's a lot to love here.

Aided by expert musicianship and spot-on production, Bentley translates his on-stage charisma to the studio better than ever before. [21 Oct 2006]

While there are certainly some forgettable moments here... the refreshing news is that "Normal Happiness" can stand proudly amid the Pollard oeuvre.

[It] works best when he's rapping alongside guests.

Yet for all the headphone-worthy sounds, the pace seldom rises above a back-porch feel and, at times, the stickers meant for customizing the cover seem like more fun than the music.

"Sam's Town" is a sophisticated sonic metropolis.

[Finn's] attempt to add more dimension to his whiskey-soaked vocals is striking. And for the most part it works.

The overall tone of the album isn't entirely dark and hopeless, although Lightburn fails to leave us with any specific resolve, instead content for some questions to remain unanswered.

Another extraordinary Decemberists album.

Those who embraced "Fallen" will doubtlessly fall even harder into "The Open Door."

Volume and snappy nods to '70s arena rock cannot obscure empty angst and lazy rhymes.

Musically and lyrically the album is thoughtful and mature.

Despite embracing the styles of decades past (specifically, the piano-driven pop of [Elton] John and the Bee Gees' disco-riffic ditties), the Sisters still manage to sound unique.

"Okonokos" delivers as powerful a wake-up call to the ears as seeing MMJ in the flesh.

More often than not, even Shadow's most extreme sonic detours hit home.

Oldham's songwriting is top-notch as usual, his melancholy lyrics in perfect balance with the accompanying music.

A mature effort that shines with nakedness and clarity.

Thanks to organic, piano-driven production, stellar storytelling and Sir's rededication to his vocal craft, this is a triumph.

Aside from a few catchy club tracks, there is nothing all that exciting about Chingy's third album.

While TVOTR now record for just another major label, their music is more distinctive than ever.

This record isn't for casual listening, so those checking out the Mars Volta for the first time should take it slow to prevent a sonic hangover.

Nothing here has quite the same panache as club hits like "Bingo Bango" or "Romeo," but "Crazy Itch Radio" nonetheless contains a handful of songs that reassert Basement Jaxx's superior production skills and unfailing ability to get any dance party grooving.

This release is comparable to 2004's stunning "Last Exit" in that every song has its own merits yet feels part of a greater whole.

It's still hard to tell if he's a bluesman in a soft-rocker's body or vice versa, and "Continuum" is the sound of him trying to figure it out too.

By refocusing on the dancefloor, the Rapture remains a step ahead.

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.

It may take a while to sink in, but "Magic Potion" enhances its effects with every listen.

It often feels sluggish despite itself, and his lyrics show him riding against the same old Michigan wind with a voice that's grown haggard and curmudgeonly with time.

Once again, the results feel too spotty.

Throughout, she romps with creative abandon, thankfully unafraid of stretching the boundaries lyrically and musically.

This enchanting album is rife with homespun reflections on philosophy, religion and the never-ending quest for true love.

Taking no risks, "Nightcrawler" shows little growth and makes one wish for the morning after.

Despite having nowhere to go lyrically, he remains a remarkably potent presence.

Film-specific songs like "Make No Sense at All" and "Call the Law" fall flat out of context.

While not a completely lovable effort, "1968" extends Pajo's varied lineage.

While he still relies heavily on old-timey melodies and washes every instrument with classic delay, the set feels more alive than usual.

"Honey" is a commendable first effort from an artist whose lush vocals are a treat for the ears no matter the genre.

"The Shining" documents the totality of who Jay Dee was as an artist and performer.

An enjoyable pop romp.

Wonderfully whimsical.

What this channel lacks is true feeling and originality.

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