Lyrical themes get a bit murkier on her appropriately titled sophomore effort, Battlefield.

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

"My World, My Way" shows the continuing evolution of a young MC with a promising future.

"Under the Covers" has just the right mix of reverence and fun to be enjoyable even on repeat listens. [22 Apr 2006]

Engineered for short attention spans at just 44 minutes, One of the Boys is still more than enough to make this one long, hot summer for Perry.

Perhaps the most intimate of an intimate series.

When these guys avoid the occasional regrettable extended downshift in tempo, the angular yet danceable set combines a mixture of menace and fun volatile enough to hint that their live shows must be irresistible.

With the roaring guitars and raucous attitude blaring from The Datsuns, it is tough not to crack a smile.

While the electronic flourishes and arrogant bombast that respectively marred the band's last two efforts are thankfully gone, there's nothing on Heathen Chemistry to suggest that the "Wonderwall" commercial glory days of the mid-'90s are coming back.

With this mostly impressive album, Loewenstein has stepped out from behind Sebadoh founder Lou Barlow's shadow to prove he's a powerful songwriter and player in his own right.

The first half of "Living With the Living" offers well more of everything that's made Leo and his Pharmacists such post-punk studs. [24 Mar 2007]

This smart and fascinating album could use some subtlety, rather than bashing the concepts into the earth.

While the majority of the cuts expertly merge the group's melodic vocals, the aggressive chants of Edwin Starr's 'War' are unbefitting an act known for silky ballads.

Metamorphosis, which follows 2006's commercially stillborn "The Paramour Sessions," is the most polished and wide-ranging of Papa Roach's six releases.

Subtlety is one thing, but at times Williams makes the Cowboy Junkies seem downright rambunctious.

Talk about bleak. [24 Mar 2007]

It's the classic, more timeless R&B songs on the I Am portion of the album that seem like a much-welcomed stretch for the singer.

Pink's sound is more aggressive this time and owes more to '80s pop/rock than contemporary hip-hop--with dollops of folk and blues.

Though a few more lively tunes would've been welcome, October Road marks the return of an artist who is as creatively vital as ever.

While Zwan sometimes displays the anguished heart of the Pumpkins, the band also has a leaner, upbeat sound that is, at times, downright sweet and playful.

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

An enjoyable pop romp.

The album as a whole finds a strange homogeny, and Tapes 'N Tapes keep exploring hip, leaving everyone guessing as to whether they meant to make such a confusing outfit or the pieces were just on sale.

The band takes its proven peppy rock sound to new heights.

Hudson is so comfortable with singing--whatever the song might be--that she elevates the material, making it sound like nothing you've ever heard before. All hail the new diva.

While not quite as revealing and rewarding as its 2005 cousin, the new album will certainly please fans of Rubin and Diamond's stark-yet-comfy acoustic direction.

Conor Oberst doesn't sound much different from any of Bright Eyes' acoustic material, except that it is lacking in the bare honesty of his earlier albums.

Although this two-CD manifesto isn't completely immune to the current bar-lowering--disc one is heavy on wispy, lo-fi throwaways (one exception: an intimate acoustic version of the Flaming Lips' "Waitin' for a Superman")--there's more wheat than chaff.