This is the throat-clutching Ministry that longtime fans have been waiting for: a grand mix of industrial rock and murder metal.

Like bourbon, his voice only gets more seductively potent with age.

A crowning achievement.

100th Window meanders along, emotion-less and soul-less—albeit with haunting Middle Eastern flourishes.

[The Bad Plus] aren't exactly reinventing jazz, but they are up to the task of aggressively disdaining genre conventions, in terms of upending arrangements, going with eclectic programming, and revamping their instruments' respective roles.

Much like KOC's albums, which tend to fade into the background as sonic wallpaper, the IKEA-sterile mood of "Unrest" does grow less distinctive by disc's end.

He just may be to indie rock what Springsteen was for rock'n'roll in 1973 -- a strong, original voice whose honest and painstakingly crafted art seems destined to be a benchmark for future generations as well as encouraging the current one to stand up and testify.

An essential experience for hardcore fans and those still not convinced of van Dyk's power.

Unfortunately, this disc's positives don't add up to a great album: Plenty of boilerplate g-funk thuggery serves as filler.

Boomslang is the album Marr fans have been waiting a lifetime for.

An ambitious and artful set of songs.

Overall, the album plays too stiffly for these experts of synth-hewn dance/pop.

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.

Often falters distressingly.

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.

What makes Equilibrium special is the wonderfully atmospheric combination of Shipp's most minimalist playing and Jamal's glowing vibes; the rhythms, too, have a hypnotic sense of groove.

His most accomplished song cycle to date.

A stormy and engrossing sonic stew.

A warm sonic cocoon with synthesizer veins, it possesses the rare quality of making the listener feel like an active ingredient of the music.

Lovebox veers more toward the rock and soul spectrum than previous efforts.

Thought-provoking and masterful, God's Son finds Nas finally realizing his full potential as an MC.

Appears and sounds more like a work-in-progress than a finished disc.

While fans of her early-'90s material will find much to embrace here, those that rallied 'round the singer during her hip-hop days may feel lost and abandoned.

Gillespie's lyrics will never win any Nobels, but the musical excitement generated here is impossible to deny.

The band's most challenging--and rewarding--album.

Perfectly imperfect and totally fearless, this may well be McGraw's crowning achievement in a career already studded with success.

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.

A relevant addition to System's catalog.