A mostly sassy'n'snotty affair on which she sounds even younger than when her debut album, 2002's "Let Go," went multiplatinum. [28 Apr 2007]

A couple of tracks sound derivative, but for the most part fans of the duo will embrace this album as well as the twosome's maturing sound.

Gone are the trip-hop-skewed beats, gone are the electronica mood swings, and gone is the band's signature downbeat vibe.... In their place are sunny rhythms, buoyant melodies, and hip-twitchin' beats...

Another eclectic musical trip.

On "Mad Season" the band serves up another slick collection of R.E.M. and Pearl Jam-influenced post-grunge classic rock tailor-made for ubiquitous radio play.

It's difficult at times, though, to pick out one song against another and some tracks are too same-y or too heavy-eyed for a second glance.

Despite these minor flaws, "The Hunger for More" serves its purpose in establishing Banks as a new voice in hip-hop.

Smacks of pure aggression, the kind which made household names out of such groundbreaking labels as SST and Amphetamine Reptile.

The lyrics hold their own as comedy poetry, and the album as a whole is stuffed with feel-good laughs.

"Blueberry Boat" will confuse first-timers with its cartoonish feel, but repeated listens start to reveal the subtle complexities that each song brings to the table, regardless of their seemingly short attention spans.

Her writing can be exceptional.

Sum 41's most mature album to date.

Most of the proceedings are fairly clean-cut and midtempo, with guitars only intermittently attaining heavy density. [5 May 2007]

The Kooks aren't exactly redefining the sound of British pop/rock on their sophomore album, but they certainly aren't giving it a bad name either.

All in all, the effort has more space, less atmosphere and gets right to the point.

The garage band feel of the album—which was, in fact, recorded in a garage—breathes new life into Mellencamp's common-man themes. [27 Jan 2007]

As a singer, J.Lo sounds more confident, as she takes more chances with a voice that is technically limited but well-suited to the material she handles.

While this album does not break new ground, it focuses on a fun and playful Prince whose turn of phrase and instrumental dexterity call to mind why we embraced him in the first place--and still do.

There are enough different feels and flows to dazzle listeners with Kweli's dexterity, but some judicious editing could have produced something perhaps even more impressive.

On her sophomore set, Solange not only takes on a sound that differs from her pop-driven 2002 debut, but demonstrates that unlike her sister Beyoncé--who she vehemently refutes comparisons to on 'God Given Name'--she has no reservations about sharing personal experiences.

Dig Out Your Soul, however, is the sound of a band rediscovering its snarl.

A testament to the singer's versatility and musicianship.

Surprisingly, a middle-aged Cube still packs a youthful punch when it comes to the gangsta tales. [3 Jun 2006]

Slower paced and more atmospheric than any of its predecessors, "Dusk" is an ambitious showcase of maturity.

It introduces enough intriguing new elements (Japanese instruments, British guest vocalists) to earn its place in the Air canon. [10 Mar 2007]

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.

[It's] quintessential Shania, light as vapor, sweet as sugar, rendered with personality and undeniable charisma.

He doesn't break any new lyrical ground, but Kelly's talent for penning original, infectious grooves remains intact.