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."

The sterling set is signature Sade.

This album leaves little doubt that when it comes to expressing the joys and heartbreak of life, few R&B singers do it as gracefully as Maxwell.

With accompaniment as varied as vocals from Ollabelle and Brazilian percussion from Mauro Refosco, White still keeps us off balance with rich, unpredictable textures ("Diamonds to Coal") that convey lost-in-the-backwoods disorientation ("Counting Numbers in the Air").

At least until that new Coldplay record drops, the Kaiser Chiefs have positioned themselves to hold the title of Baddest Musicians in the World With a British Return Address.

McCartney continues to surprise, opening this set with four of his best songs in ages. [17 Sep 2005]

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

Virtuosity can be impressive without being particularly enjoyable, and it's hard to shake the feeling that for all the potent-as-ever prowess here, Death Magnetic is more a stamp of authenticity than a complete record.

Ghost sounds so together that even its nods to jazz fusion and prog rock sound utterly convincing.

An album that would have been great in 1983; now, it is more of a nostalgic lark.

Bejar may consistently tinker with his sound, but the output has been reliably solid, and Dreams is no exception.

There's more melody than usual to be found here. [24 Mar 2007]

Nothing can quite match the in-person thrills of the current Daft Punk live experience, what with the robot costumes, onstage pyramid and body-rattling beats radiating out into the blissed-out faithful. But Alive 2007 comes pretty darn close.

There are certain instances when Francis' politics overreach, like on the annoying "Dance Monkey,” but for the most part, “A Healthy Distrust” is this artist's most impressive album yet.

"Springtime" could very well be the singer/songwriter album against which all others are measured this year.

A wonderfully offbeat blend of atmospheric folk and lo-fi rock that never fails to charm.... One of the year's most well-rounded and consistently satisfying albums.

A dreamy gem steeped in the tradition of '90s shoegazer rock.

With its broader musical canvas, "Blessing" may seem like a left-turn to diehard Truckerheads, but it's likely a wise move toward growing the DBT fan base.

Overall, a modest debut from a band that has potential for a mass following down the road.

The project's 14 tracks are still filled with well-made guitar and piano pop that only missteps when Finn and company lapse into whispery quietude for too long.

It's muted, but intoxicating stuff.

Nothing makes as quick of an impact as 'Crazy,' but give the tunes time and you'll find they stick around.

"Love Kraft" is as cohesive a record as the group has yet produced.

The Canadian quartet continues to polish its spacey, new wave-colored sound that's heavy with buzzing synths and echoed vocals.

While "Three" itself is only occasionally lively, thanks to Prewitt's strong grasp of sun-bleached summer music and '60s psychedelia, the disc overflows with good ideas and pretty little melodies.

Despite being assembled from such an array of concerts, the album brilliantly captures the continuity of a live performance.

Lucky is full of jangly little gems that could put a skip in the step of even the saddest of sacks.

The latest from this genre-bending Welsh band is largely a smoothed-out pop record, reining in some of Super Furry Animals' more left-field tendencies and tenderly nurturing the catchy, chart-friendly hooks of Gruff Rhys and company.