This is the same pop-wise Hot Chip, only wilier and with a more dastardly sonic arsenal.

Williams and Elvis Costello get their twang on for the spirited 'Jailhouse Tears,' and a combination of new elements (horns) and powerhouse playing by her touring band Buick 6 bolster the set's emotional heft.

Beneath the occasionally shambling arrangements and fuzzy overdubs, though, lie some great songs.

As strange as it is wonderful.

A postcard-perfect summer pop jam, "Don't Give Up" is one of many delights on Chicane's much-anticipated sophomore album, "Behind The Sun."

This time, the gorgeous harmonies and lo-fi ELO homages remain, but the lyrics are more personal.

What is exploding, writhing and fermenting behind Avey Tare's erratic voice is what's most interesting about this poppy, though experimental, set.

Nouns is a more likable and less abrasive version of No Age, with a little something for everyone and a little nothing for no one as well.

Thomas returns with a soaring collection of infectious pop songs that are destined for heavy rotation in 2009 and beyond.

This winning collaborative combination makes "Before the Poison" even stronger than its 2002 predecessor, "Kissin' Time," but with production and arrangements that are minimalist, dark and desolate.

"Rather Ripped" is a concise serving of what the band does best.

The concept behind Simply Grand was to pair Thomas with a different star pianist on each track, and the results are mostly stunning.

His exceptional new album has plenty of sex and senoritas, but also a higher calling on the uplifting 'It's a Beautiful World,' a duet with Patti Griffin.

The-Dream has definitely bypassed the sophomore slump with "Love Vs. Money." The songwriter-cum-singer pushes the envelope production-wise (incorporating more of his Prince influences, among others) as well as lyrically.

The 11 tracks breeze by in a blaze of exuberant, pop-tinged glory.

K'Naan's singular take on the parallels between Africa and America is the strongest thread running through this diverse, socially alert and frequently brilliant sophomore disc.

But for all the growth, the band's continuing inclination toward a bludgeoning sonic attack and Moreno's violent, impressionistic lyrics make this a tough pill to swallow for most listeners.

Even when you can't understand what he is breathily crooning, Prekop is a master at setting just the right mood.

The Oklahoman delivers in spades on her sophomore effort, on which she was much more involved in the creative process.

This French quartet specializes in bubbly AM indie-pop that gives it more the feel of a male-fronted version of the Cardigans.

Frontman David Draiman shows that he is an ample singer, refraining from the quirky vocal squallings that graced Sickness for a more straight-ahead croon.

The true star is Antony's raw, emotional voice, one in which you can almost hear actual feelings being conveyed.

Depressing but arresting.

Mplsound is sometimes stronger still [than "Lotusflow3r"], with the party whoop of '(There'll Never B) Another Like Me,' the delicious dirty mind of 'Chocolate Box' and 'Ol' Skool Company,' which will have you partying like its 1985.

A fine, quirky entrance that hints at a band poised for bigger things down the road.

Lil Mama shows off some impressive verbal firepower here, like when she challenges her skeptics over a booming trash-can beat in 'One Hit Wonder.'

Searching for a ray of lyrical light in John Mellencamp's latest treatise on the state of the world proves consuming—but largely fruitless. That, however, makes the album all the more compelling.

The singer does double duty as a dance diva and brokenhearted balladeer. It's no easy feat, but when Spears shoves aside the tabloid trauma and hooks up with the right producers--on this album it's Guy Sigsworth, Danja, Dr. Luke and Max Martin--she is in a class of her own.