Finds the duo, well, pushing too many of the same buttons.

On New York City, Brazilian Girls have crafted a set as internationally diverse as the Big Apple itself.

Lanois' sixth studio album is an eclectic mix of richly textured rock songs, mellow vibes and hypnotic instrumentals, interspersed with snippets from philosophical conversations with mentor Brian Eno.

Lil Mama shows off some impressive verbal firepower here, like when she challenges her skeptics over a booming trash-can beat in 'One Hit Wonder.'

A welcome exercise in versatility.

A collection of nourishing soundscapes, all of which are just as jagged and defiant as El-P's hip-hop work.

The 16-track set showcases Dilated's combination of intelligent lyrics and mind-blowing production.

In lieu of monotonous dancefloor beats, Cole prefers a more intricate soundscape, one in which pizzicato string flourishes freely caress funk-fortified rhythms

[Tom Tom Club] come this close to surpassing the raw energy, vibrant power, and rhythm-fresh approach of their now-classic eponymous debut.

The album distinguishes itself from Chapman's previous releases with its stellar studio band and its refusal to submit to pop production. [17 Sep 2005]

The album's best moments come on XTC-flavored new wave tracks like "Skip to the End" and "Favours for Favours," where they ease up on the accelerator and let the songs breathe.

Nothing on the album is as catchy or as memorable as the Strokes' sharpest material, but several cuts sport a sweet Latin lilt, which helps distinguish the music from work by any number of similarly situated acts.

She continues to lay down the law on 'Porcelain Doll' and 'Another One,' both of which find her claiming she is a "grown woman" over a choir-like production and acoustic guitars, respectively. But not all is heartbreak on the mature-sounding set.

At times it feels like a lot is going on, others not so much. The pieces are all there, but it just doesn't add up to more than the sum of its parts.

Like instrumental masters Tortoise, the new Tristeza is much like the old, offering subtle variations on a pleasant theme.

Every song sparkles with a hook or lyrical element strong enough to permanently embed the brain upon impact.

Frontman/lyricist Lillian Berlin urges his listeners to "take to the streets," if necessary, to enforce the will of the people. It's a heady manifesto, but Habeas Corpus never gets bogged down in rhetoric.

Her hushed, velvet-smooth vocals evoke a noir yearning and forlornness, her slow-burn delivery enraptures with a torch sentimentality, and her support team shines.

Mix[es] the band's '80s influences with clever lyrics that lift it above the "garage band" tag it was initially saddled with.

The full-length The Fame proves she's more than one hit and a bag of stage tricks.

On their sixth album, Foo Fighters have renewed their membership in the "if it ain't broke . . ." school of songwriting. And essentially, there's nothing wrong with that.

Whether you prefer him shouting vitriol on the picket line or whispering sweet nothings in the bedroom, you'll find plenty to enjoy here.

Rockferry splits its time between paying tribute to its source material and knocking it off, but its principal's vocals, and generally pleasing wall-of-sound treatment, make it a good move anyway.

A landmark work by one of country's singular artists. [4 Mar 2006]

Forth not only equals the Verve's best work, but in many cases exceeds it.

There isn't a dud among this project's 11 tracks, each of which sounds custom-made for radio.

The British answer to Fountains of Wayne.

Welcome, worthy and wonderful.

The kind of record from which careers are made.

It may be because of its unevenness that Alone II is an intriguing look into Cuomo's complicated mind, because unlike his largely homogenized Weezer albums that have stuck to the center of late, these recordings shed light into every dark corner.

This is the thinking person's dance music with lyrical content to match.

Those familiar with '80s funk trio the Gap Band will find a decidedly modern R&B sound on the second Jive solo album from frontman Charlie Wilson, which by turns is both riveting and a little disappointing.

While Marsalis' verse falters, the music beams stellar with lyrical rhapsodies and compelling arrangements imbued with multifarious colors and orchestral textures.

Dennen's tenuous vocals (and lyrics) are better suited to silly love songs than this sort of material, and though producer John Alagia knows how to make the guitars jingle and jangle and how to work up a soft, swimmy groove, Dennen needs a little more to rise out of the ever-growing multitude of sensitive guitar dudes.

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.

The formula isn't quite as fresh here as it has been on previous outings; after a few tracks, the amped-up glee-club vibe can begin to wear on all but the most devoted of nerves.

Although Metric might get lost in the ongoing mainstream melee, "Live It Out" has all the right ingredients for building a strong underground fan base. [29 Oct 2005]

A moody, yet seemingly sprawling album of (mostly) instrumentals that rely on the evolving crescendo to make a statement.

A nearly perfect collection.

Merritt isn't one of alt-country's most distinctive vocalists; her singing here is wide open and affectless, occasionally to the point of near-anonymity. But instead of making the tunes on Another Country seem forgettable, that quality actually ends up inviting you into the material

Taking pages out of some very strong playbooks (think Superchunk, Guided by Voices, early Wilco), the Whigs find a way to revive honest-to-goodness pop rock for a new generation.

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

Snoop Dogg's ninth album is perhaps his most progressive one to date.

Hank Williams III has always respected his lineage, but he gives it even more love at the outset of his poignant and pugnacious sixth album.

Ultimately, the change in direction will likely raise a few eyebrows among some diehard fans, which isn't to say the songs here aren't noteworthy in their own right.

12 tracks of fun, lighthearted rock tunes that are each instantly hummable.

Not to be outdone by the generation of singers he has influenced, he raises the bar with the 19-track set.

The Scottish quartet offers guitar-rich tunes that are as remarkably literate as they are emotionally challenging.

In a sea of trend-conscious releases, "Breach" will wash over the senses like a cool, refreshing breeze. Although it's a completely contemporary and competitive entry into today's market, you won't find even the tiniest musical element that will render this set irrelevant or outdated in 10 years.

From the first strains of 'Haiku'--an opening instrumental that merges the acid squelches of early rave with an insistent breakbeat and--yes!--congas--it's obvious that this guy's aesthetic is so clear to him that mixing disparate elements is a breeze.

On his first release since reuniting the original Joe Jackson Band in 2004, Jackson is at the top of his game as a writer, singer and player.

This Montreal band's Anti- debut is a far more calculated, robust affair than its first album, 2006's "Return to the Sea."

In all, "Cover Magazine" may be one of the slightest of Giant Sand's albums, but after nearly 20 years of varying takes on moody, twilight hallucinations, it arrives like a sigh of relief, a much-deserved break from the norm.

Style trumps substance in Stefani's world, making "Love, Angel, Music, Baby" an ideal guilty pleasure.

"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.

While "Hives" isn't as easy to digest as previous Broken Social Scene outings, it still deserves many a spin.

The New York quartet retains its flair for dramatic images and ominous guitar lines on its major-label debut, but with producer/ mixer Rich Costey onboard, these signatures uncoil into more complex soundscapes.

This sounds very much like the record Deana Carter has always wanted to make

Enigk's vocals here are as translucent as ever.

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

Born Ruffians are in the business of kicking out jumpy live-band power-pop jams far more concerned with melodic zing than textural depth.

These guys seem comfortable with the added sheen--a few tracks could be the Killers covering the Misfits--but Skiba's tunes aren't quite as memorable as those on earlier Alkaline Trio discs, which blunts the overall effect.

Easily the radio-friendliest set ever from the Phish camp.

This isn't a perfect album, but it is a great pop leap for Fischerspooner.

An anything-but-predictable collection of songs.

For all of its forays into bluesy rock and glittery glam, though, "Real" draws heavily from New Wave's danceable side.

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]

The finest and most listener-friendly album of Gomez's 10-year career.

They churn out seriously fun, ballsy rock tunes with a wink and a nod.

The album is a call to arms for the digital age, and 20 years into its career, Green Day's ambition continues to dazzle.

An uneven collection of synthesized experimentation that relies too heavily on familiar and cliched electronic tricks to sound original.

Orton has a flair for penning languid, spacious songs whose forlorn characters seem as adrift as the music's fleeting acoustic guitar chords and absentminded piano tinkles.

Winsome and striking.

This is one beautiful record.

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

Her first mainstream country album in years is an important reminder of the breadth of her singing and songwriting talents.

More fun and more listenable than anyone could have expected.

What helps Smoosh rise above novelty, however, is the quality of young Asya's songs.

Wonderfully whimsical.

Tilly and the Wall stick with their signature combination of half-shouted words and harmony vocals. But the group also breaks new ground with punk rock riffs and percussion that well surpasses the standard of tambourines and Jamie Pressnall's tap dancing.

This is some of the most accomplished indie rock you're likely to hear.

Sounds utterly contemporary even as it harks to the band's glory days.

This is signature Erasure, and fans will find it pure delight. [26 May 2007]

The disc proves Anastasio doesn't need his old bandmates to sizzle, but ought to get back to doing what he does best: kicking out the jams.

The folk and electronic elements are ever-present, but the chilled-out downtempo rhythms are now intertwined with chilled-out uptempo fare as if the duo has remixed itself.

The marriage of material and performance maintains high consistency and purpose.

While it would have been interesting to hear a further evolution of the band's sound, the album offers plenty of adrenaline, pheromones and stealthy sophistication, thanks to Bob Hardy's driving bass, Alex Kapranos' expressive crooning and the band's unusual ability to make every song sound like a single.

Seamless without being monotonous, "Buzzcocks" is punk rock for grownups, teenagers, and everyone in between, without pandering or becoming a caricature of itself.

Hardly anything here makes an impression after repeated listens. What's worse, even fewer tracks possess the spark or invention for which Phish is revered.

Pink's sound is more aggressive this time and owes more to '80s pop/rock than contemporary hip-hop--with dollops of folk and blues.

One can't help but think that by scaling back their ambitions, the Foos could have made one great album instead of two average ones.

The Americana is first-class, be it on crunchy, boozy romps with stinging solos or the slow-burning acoustic fare, but this batch of tunes proves far less memorable.

It's hard to sound as sweet as Tegan & Sara and not come across as precious. But somehow this duo does it, and the result is fantastic.

A mixed bag of pure-pop lyricism and throwaway covers.

Though nothing quite reaches the heights of past work, there's ambience to spare on "We Own the Night" and the lush "Highway of Endless Dreams."

There are moments when you wish for just a tiny bit of dirt, or just a little bit of edge.

Every song becomes her own, with each one having just the right amount of torch and twang.

Gold left many Adams fans listening in awe at the leaps and bounds by which he was growing as a songwriter. This record doesn't do that; and though that's just fine, it makes Demolition less diverse and ultimately less exciting.