The unlikely resurrection of the New York Dolls is solidified by this second recent album, an output that now matches in quantity and mirrors in quality their epic early-'70s sprint.

The Irish quartet holds up its end with an album of melodically memorable and inventively arranged songs, most clocking in at more than five minutes and massaging listeners with a wash of keyboard and guitar textures.

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.

While the overlong album sometimes threatens to bury C&C with its own excess, the craftsmanship suggests the band is more than capable of breaking into the mainstream. [24 Sep 2005]

A surprisingly moody affair.

Fans of Queens Of The Stone Age, and to a degree Death From Above 1979, will probably be attracted to "The Indian Tower," but from the get go, there are noticeable differences that make the album a unique contribution.

A mature showcase of concentrated power with riotous groove jams, super-sized hooks and transcendent vocal arrangements.

Like British counterpart St. Etienne, Ivy deftly merges melancholic tales of the heart with happy-go-lucky beats.

A sleek machine that's practically pleading to be taken out on the highway.

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.

LL... seems to have regained the fire that was sorely missing from his previous release, "Phenomenon."

McGraw's best effort yet. [31 Mar 2007]

This is a damn good party--best not to miss out.

On his second solo outing, New Pornographers main man Carl Newman gives a master class on how to merge melody and classic song structures without making music that sounds dated or retro.

Comfortable and confident all the way through, and a highly welcomed return.

The results are a selection of high quality that veers between brightly spirited ("Manhole," "Lag Time") and somber ("Callous").

This self-released third record sees them right back on form.

Every song is laced with harmonies that will weave their way deep under your skin.

Familiar, yes, but not unwelcome. [1 Oct 2005]

Think of bubblegum produced by a garage/grunge band.

Unfortunately, this disc's positives don't add up to a great album: Plenty of boilerplate g-funk thuggery serves as filler.

Malakian and SOAD drummer John Dolmayan have indeed brought something new for their fans to love--and perhaps even for non-fans as well, given the more direct and accessible nature of Scars' music.

A stunning shot of muscular, melodic rock.

They Might Be Giants' 12th full-length record is arguably their best since 1994's "John Henry."

Ween fans have come to expect the unexpected from this act, but even diehards will be thrilled by the sheer musical schizophrenia of La Cucaracha.

Easily the icon's strongest, most satisfying effort since her '78 classic "Easter," "Gung Ho" is, by turns, wistfully poetic and sharply observational.

This time there's less gimmickry, more sympathy for the words and melodies. Harris... has crafted 11 profound, graceful poems that rank with the best songs she's ever recorded.

The monochromatic melancholia eventually weighs the disc down, but even when Arthur's songs drag they do so with a grace and beauty that transcends the morose subject matter of his self-pitying lyrics.