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.