The problem is that while Hourglass has Gahan sounding a lot more assured and competent as a songwriter, it's also too much what you'd expect of him.

This is an album's album, magnetic over the long haul, as Raposa's careful, nuanced tension between placidity and chaos accrues force.

Even at 46 minutes, Preparations is wearying; it's the same Prefuse tricks once more, with less feeling.

Elegies to Lessons Learnt is an undeniably effective 50-minute ride, but it's also rather coldly mapped out.

Unfortunately, though, while they sound brighter and more alive than they have in a while, their default mode still leans a little too heavily on Hyde's increasingly silly beat poetry and the kind of unashamedly booming drums that haven't sounded exciting since, well, 1997.

Make Sure They See My Face is overdressed to impress when easing up may have been the best way to ease back into the public consciousness.

What makes Live so disappointing isn't that it offers too few shots of the band they were, but so many glimpses of the band they could be, if they were more adventurous in hi-fi.

Pull the Pin might be going for the uncluttered "production" of older Rick Rubin, but instead it cops the sterility of newer Rick Rubin, each song lumbering on a chassis of waterlogged tempo and Jones' wooden melodies, begging for just about anything to grab you.

In a year of low-stakes disappointment for European pop, Overpowered is a triumph.

The brilliant In Rainbows represents no such thing [downshift]. Nonetheless, it's a very different kind of Radiohead record. Liberated from their self-imposed pressure to innovate, they sound--for the first time in ages--user-friendly.

It's not until the last few tracks that Harry finds her best collaborator--naturally, it's former Blondie bandmate and paramour Chris Stein.

Flying Club Cup would be a triumph even with those layers stripped away; that's not to say that the cultural patina obscures the "real" songs underneath, but its removal allows us to sidestep mind-numbing questions about authenticity and intention.

It all sounds cleaner and more accessible than anything they've done in the past, but that might actually be part of the problem.

But while Random Spirit Lover is dense and thorny-- even opaque, at times--it's never haphazard.

Even if Cease to Begin is a little creaky and uneven and even if it never finds the resting spot the album title promises, Band of Horses do guitar-based indie very well--well enough, at least, that the next generation of American indie bands may bear comparisons to them.

Along with wry, sometimes melancholic observations worthy of Richman or the Magnetic Fields' Stephin Merritt, these elements make for Lekman's best record, one likely to captivate even those who were skeptical of his previous releases.

Unlike "Ok-Oyot System," Hera Ma Nono credits all songs to the band, as opposed to individual band members, and no doubt the results sound more cohesive as well.

Delineated acts aside, the disc maintains a certain sonic consistency, carefully balancing discord with grace; the structure does pay off, however--particularly the first two-thirds.

Leaner and more direct than its predecessor, "Hocus Pocus," few fans will be disappointed with Grass Geysers...Carbon Clouds.

While We Are the Pipettes often swells and soars... it doesn't come near the symphonic grandeur of the best of 60s girl pop. At its best, however, these pocket-sized songs still burst with verve and vitality, mixing heart-pumping melodies with carefree, almost conversational vocals.

It's a success, without doubt.

If Magic revisits the subject matter of previous career crests, it unfortunately recalls "The Rising" in its sound: Brendan O'Brien returns to the producer's seat, once again shuffling most of the E Street Band to the music's margins and focusing his attention squarely on the Boss.

They may not be doing anything especially new, but Sharon Jones & the Dap-Kings are the very best at what they do, and they've made another excellent album.

Although Good Arrows is aimed in the direction of a synthesis between the band's two predominant elements, the result misses the target by just a bit.

On the right day, at the right time, the album's powerfully claustrophobic intimacy is more palatable; on the wrong day, at the wrong time, in the wrong frame of mind, White Chalk may be the longest half-hour in the world.

They're sounding less and less relatable, leaving us pining not just for the days of a little grunge trio from Seattle, but for the relentlessly catchy and charismatic Dave Grohl of the Foos' still-fantastic self-titled debut and the better half of "The Colour and the Shape."

The Shepherd's Dog is Iron & Wine's most diverse and progressive album yet, a deft transition to a very different sound that explores new territory while preserving the best aspects of Beam's earlier recordings.