Watershed, k.d. lang's new torch-and-twang exploration, will hover delicately in the background of many a coffee shop, but it does little to elevate itself to a more conscious musical experience.

She remains a monster vocalist just getting started.

The set oozes with timely funk beats and the kind of well-crafted songs that No. 1 hits are made of.

While, at times, Voyage to India seems a bit too preachy, Arie has a way of bringing everything together in a very palatable way.

As nihilistic and hostile as ever.

The Fray is a more angst-filled and melancholy set than you'd expect from a group following up a double-platinum debut, populated with songs about lost love and tortured souls. But hand-wringing music sells.

Jhelli Beam finds this prominent member of the West Coast underground hip-hop coalition Project Blowed challenging his unique flow and uncanny wordplay at every roundabout turn, rhyming against a tsunami of samples crafted by such L.A.-based production wizards as Daedelus and Nobody, among others.

Tailor-made for post-club chill-out sessions, as well as weekend brunches at hip cafés, Details delights with warm electronic beats, organic guitars, and multi-tiered strings.

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]

It's the shimmering beauty of the title track, an overhaul of the Christine McVie-penned Fleetwood Mac tune, where Adams and Nelson's styles most seamlessly, and quite beautifully, mesh. [4 Nov 2006]

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

The new album's lyrical plotlines feel more organized than on past efforts, and musical twists are easier to follow, with Matthew's piano grounding the recording.

An album to return to again and again, whose depth grows with every spin.

There are some real gems here. [12 May 2007]

The back half is all over the place, prone to the sort of detours that seem designed solely to show off Mos' scope, like the all-Spanish throwaway 'No Hay Nada Mas.' Still, when's he's on, which is more than not, Mos is refocused and seemingly rededicated.

It still has the signature guitar-drums-violin approach, but there are subtle variations that make this a different record.

Though, at times, the lyrics are a bit too sentimental ("Time") and production is spotty, "In My Own Words" should have listeners clinging to Ne-Yo's every word. [4 Mar 2006]

A delightfully breezy and refreshingly hopeful chill-out solo disc. [24 Feb 2007]

"II" conjures a creepy but very real neo-psychedelia that is alternately paranoid, somber and reflective.

Hungry Bird is a charming and welcome return to form for Barzelay.

While his talent as a lyricist may leave something to be desired, you can't fault the guy for his dedication to putting a smile on the listener's face.

Moonwink is a very good album by most standards, except by comparison to "Nicely Done."

While some tunes, like the Columbo-background-music-ready title track, suffer for their weightlessness ('Metronomic Underground,' we miss you), the Motown-meets-Esquivel 'Self Portrait With Electric Brain' and beat-oriented electro of 'Valley Hi!' and 'Pop Molecule' read as exquisitely wrought.

Looks at the Bird falls somewhere between chamber jazz and background music, a pleasant drift of different ideas that come in and out of focus like elements of a nice dream.

A relatively solid return that should bring some new fans into the flock. [12 May 2007]

The Vocoder on the a cappella track 'Woods' puts forth a robotic wooziness that's more about technical expression than personal sentiment. With full-band backing, Vernon also seems more social on the title track and 'Babys.' What remains from "For Emma" is a dizzying and ethereal beauty.

The Trashcans toil on their songs, and at times, it shows -- but all it takes is the 4:10 melodic blizzard of "All the Dark Horses" to sum up what all that sweat was about: birthing pure bliss.

This is some of Cornell's most uncomplicated and accessible music to date. [9 Jun 2007]