Aggressive yet soulful, "War" doesn't just straddle the line between rock and electronica—it destroys it.

While the album doesn't break new ground, there's plenty to like about its mix of pumping rock and old-school soul.

Its growth feels genuine and, unlike Sum 41's punk peers, its musical maturation doesn't come at the expense of that all-important snotty 'tude.

The Con a welcome addition to summer playlists and to Tegan & Sara's promising catalog.

The disc proves Anastasio doesn't need his old bandmates to sizzle, but ought to get back to doing what he does best: kicking out the jams.

The air of uncertainty and doubt he creates is what continually makes his music so intriguing.

This sophomore set likewise has moments of indelible pop bliss, but too often veers off track with unnecessarily long songs and dull arrangements.

When this sixth CD opens with a cataclysm of "Transformers" noises, it signals a record that's a little more unapologetically electronic than their previous ones.

It's prototypical Warped tour rock - but, to be fair, at the top level of that particular realm, with thoughtful lyrics and tightly crafted guitar arrangements.

Tom Smith's emotive vocals and the dense wall of guitars strike the perfect balance between moody, underground noise and more accessible, arena-bound rock.

There aren't enough original ideas here to know if Rooney can shine as a relevant, modern rock band.

It's trim rather than hurried, does not waste a note and, because of that, may be the best of Vega's seven studio albums.

Even without original drummer Derrick Bostrom, the Meat Puppets' magic is evident. The focused, yet relaxed, music throughout this album is among the best the band has ever made.

It's still a mess, though an ambitious and grandiose one.

The New York quartet retains its flair for dramatic images and ominous guitar lines on its major-label debut, but with producer/ mixer Rich Costey onboard, these signatures uncoil into more complex soundscapes.

"Ga Ga" stand out as a fun, if somewhat peculiar, addition to the Spoon catalog.

The project's 14 tracks are still filled with well-made guitar and piano pop that only missteps when Finn and company lapse into whispery quietude for too long.

They Might Be Giants' 12th full-length record is arguably their best since 1994's "John Henry."

Ulrich Schnauss returns with more lush, ambient music fitting for any chill-out session or long summer drive with the windows down.

Imagine the B-52's playing a wedding in Siberia and you'll have a loose idea of what's in store on these 14 tracks.

Libertad is one of those sophomore albums that builds on the strengths of the first and offers enough fresh stuff to establish a new standard for the band.

Though still short of career-defining, "Ms. Kelly" finds its author opening up more while welcoming the possibility that destiny may just find another star.

The project just doesn't offer as many gems as "King," which pushed T.I. to new commercial heights.

This "Tiger" is fairly tame, but that's OK. [30 Jun 2007]

"The Mix-Up" is thematically sound and feels like a comprehensive piece instead of a self-indulgent scheme. [30 Jun 2007]

A welcome return from a band that still doesn't sound quite like anybody else. [30 Jun 2007]

More hit than miss. [30 Jun 2007]

The Spree... is generally a bit more streamlined in its approach. [23 Jun 2007]