Ghostface Killah is as wickedly esoteric as ever, Method Man sounds reinvigorated and snapped out of his recent slump, and Raekwon, who's been on record decrying 8 Diagrams, is ice-pick sharp.

Although not as immediate as "Jimmy Eat World," "Futures" will not disappoint fans.

His third record with the Catholics, "Dog In The Sand," furthers the ex-Pixies frontman's recent explorations into bare-bones rock'n'roll.

Some cuts, like the cover of 'Pretty in Pink,' or the tensionless march of 'Mouse and the Model,' didn't need to be resurrected. But others, like the singalong rolling notes of 'Sorry Bunch' or 'Night Reconnaissance,' a multipart romp about middle-class vagrants, can stand with the Dolls' A-sides.

[An] uneven set.

George dives in full bore, her voice navigating his undulating road map like so many animated bluebirds flitting through a forest.

From note one, the listener is hermetically sealed into Chosen Darkness' unique musical universe where overdriven bass leads, pinpoint guitar lines and ominous synths hit with maximum impact.

Common has made a record that follows the same formula as its predecessor. Not a bad move considering the success of the four-time Grammy Award-nominated "Be."

A monumental step forward in the progression of the group's sound.

The dynamic range of Plant's vocals may have narrowed, but his emotional range has only widened, with his singing intimate and detailed throughout.

Paint-by-number grooves, coupled with nonexistent hooks and forgettable melodies, do not result in an album that requires repeated plays; that is unfortunate, since a few Timbaland-produced tracks demand just that.

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

This confident piece of work is like mannah from the heavens for college rock fans, freshening up loose, rhythmic song structures with a charming lo-fi aesthetic.

While there's not a bad one in the bunch, once you've heard LaMontagne loosen up, you're left starving for more of it.

The songs here hit with a full-on assault of crunching guitar riffs, distorted, cracked vocals and walls of disorienting feedback, while lyrically, frontman Ben Gibbard visits the moodier and darker corners of his mind.

Dark yet delectable, Velocifer suits Ladytron just right.

Arguably Mellencamp's best album since 1987's The Lonesome Jubilee and 1983's Uh-Huh.

This is a showcase of a hugely important American artist at full power.

With its restless spirituality and dense, decidedly un-pop arrangements, Riot Act perhaps most closely resembles that first album (No Code) of the post-Vitalogy years.

Call Me Crazy, the follow-up to her highly lauded "There's More Where That Came From," is Womack's best album yet.

Sometimes this all-inclusive attitude falls flat, like on the trading male-female vocals of "Tiny Paintings" or the collective shouting that is littered throughout. Yet when everyone harmonizes together on "Maybe You Can Owe Me" and "Do the Whirlwind" it sounds unforced.

Davies' first solo studio collection has all the tasty ingredients that epitomized the Kinks--primarily Davies' knowing lyrics and world-weary vocals. [25 Feb 2006]

A modest but consistently satisfying affair, rich in music and message.

There is plenty to love here, so don't be surprised when you find it has become the current soundtrack to your life.

But for all the growth, the band's continuing inclination toward a bludgeoning sonic attack and Moreno's violent, impressionistic lyrics make this a tough pill to swallow for most listeners.

Seven albums in, not much has changed for Rancid, and that's a good thing.

"Some Cities" is less epic, but no less important, than its predecessors.

These songs simply don't stack up to their predecessors.