The chameleon has come home and still sounds like no one else.

An artistic experiment that stretches the band's sound while meditating on the film's menacing malaise.

A melancholy gem of gorgeous, whispery folk and delicate countrified rock.

There are a few head-scratchers,....but singer Caleb Followill has never been in better command of his beyond-his-years howl, and he's got monster hooks and melodies yet in his bottle of tricks.

Fans will note a lack of Bruceness here: big-sounding proclamations about faith and dreams are few and far between, replaced by sneakily complex love stories all washed down with sudsy pop.

Characterized by production rawness--for better (the immediacy of the performance) and worse (traces of off-key harmonies).

"Yr Atal Genhedlaeth" is undoubtedly a charismatic prize for die-hard Rhys/Super Furries fans, but for drive-by listeners, it's just an interesting appendix to the band's body of work.

A guilty pleasure.

Remains in the tradition of his previous releases, offering a combination of witty rhymes and unforgettable hooks.

The overall result lacks the ebony-hued cohesiveness and experimental flair of the debut set.

The Aluminum Group's "Pelo" features the lush production and silky arrangements one expects to find on a Tortoise record, plus a healthy dose of Stereolab-influenced vocal harmonies thrown in for good measure.

Gold left many Adams fans listening in awe at the leaps and bounds by which he was growing as a songwriter. This record doesn't do that; and though that's just fine, it makes Demolition less diverse and ultimately less exciting.

The utilization of American hip-hop scenarios in the context of the English slang is exactly what makes "Coming On Strong" such a unique listen.

A warm, enjoyable effort, but perhaps short on the Jews' best asset: Berman himself.

The repetitive opener 'Let's Be Mates' gets the album off to a rocky start, but Lady Sov quickly redeems herself with 'So Human.'

"The Big Bang" successfully treads the line of commercialism, with palatable mainstream singles and solid street tracks.

Frusciante channels his creative spirits through a homegrown hybrid of early '80s new wave and late '60s acid rock that sounds a lot better than it reads on paper.

The monochromatic melancholia eventually weighs the disc down, but even when Arthur's songs drag they do so with a grace and beauty that transcends the morose subject matter of his self-pitying lyrics.

"I Try," featuring Blige and produced by Kanye West, comes off as trying too hard to re-create Kweli's "Quality" hit, "Get By." The album works best when it goes with the flow.

All spun together it works well, and maybe even better than on the debut. [16 Dec 2006]

The prolific singer/songwriter has reacted to the licensing feast surrounding "Speak for Yourself" ("The OC," "So You Think You Can Dance," Verizon advertisements) with a stronger focus on song structure and melody on Ellipse.

Although this is not Buckner's masterpiece, it's a beautiful window into the head of someone who writes from the heart.

There's plenty here for old and even new fans to enjoy.

Bittersweet World is a party worth attending, but not much is missed if your invite got lost in the mail.

QOTSA envelops many of the songs in a fog of menacing guitar squall that focuses as much on atmospherics as hooks. [16 Jun 2007]

It makes for a difficult listen but will be fulfilling for those who find their way out on the other side.

With its broader musical canvas, "Blessing" may seem like a left-turn to diehard Truckerheads, but it's likely a wise move toward growing the DBT fan base.

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