Ultimately, You in Reverse is more a refinement than an evolution of Built to Spill’s sound. Fortunately for those inclined to guitar rock, it’s a great sound.

It's as if, having played the crowd-pleasing rock card, Springsteen feels the need to validate himself as a "serious" artist, but has mistaken a certain affected intimacy of approach for thoughtfulness and dramatic substance.

Inspiring and masterful.

Fusing elements of Human League’s sophisticated new romantic aesthetic and Belle & Sebastian’s unapologetically arty preciousness, Montreal-based Stars deliver their most consistent effort with Set Yourself on Fire.

Damaged is quintessential Wagner: a ponderous, carved-wood gut-punch of a record that finds hope in the mundane details of everyday life, even as the big worldly picture comes crashing down with alarming force.

The Obliterati's first half makes 2004’s stellar comeback ONoffON seem tentative.

The material doesn’t resonate, however, and pales next to Ward’s prior effort, Transistor Radio.

Rubber Factory finds inspiration in decay, and signals a hopeful future for the Black Keys.

The range of styles is impressive, which trumps the lack of logical or elegant transitioning. Snaith may be showing off, but at least he’s backing it up with strong and memorable arrangements.

"One In Seven" is the best song on the London-based four-piece Engineers' self-titled long player.... The problem: "One In Seven" is the last song on the album. The ten tracks preceding it simply don’t measure up.

One of the stronger debuts released this year.

Sadly, Tanglewood Numbers just doesn’t sport enough memorable Bermanisms to make it a truly satisfying Silver Jews album.

An unflinchingly grim set.

At its best... the band more than justifies the hype.

1972 has less urgency than Rouse's inconsistent but promising debut, Dressed Up Like Nebraska, and save for the last two tracks doesn't approach the earnest, careworn sublimity exhibited on Under Cold Blue Stars. It is, however, one of his most polished releases.

Scissor Sisters' debut is a brilliant ode to a musical era defined by vapid decadence and disposable dance tracks.

Despite being one of the weaker albums Wilco has released, A Ghost is Born is nonetheless the most fascinating.

Akron/Family has definite talent, but less forced naturalness, tighter song structures and greater emphasis on appealing harmonies could only help the group in its quest to conquer the known musical universe, or, at the very least, the corner organic foods mart.

If Aw C'mon pales in comparison, it's due to a pronounced downbeat atmosphere and an over-reliance on cutesy, clunky titles.

Unfortunately, when Clearlake misses the mark, it does so widely.

Obviously, the peerless craft and genuflecting reverence are beyond reproach; those desiring a more progressive form are out of luck.

Since We Last Spoke is more sonic retreat than bold reinvention, an intriguing, if not entirely triumphant, tip of the hat to the sound and spirit of the Year of the Dragon.

Far and away her most radio-friendly album to date.

The second half lacks the spirited kick of the first.

Superwolf is the sound of two artists on the same creative page, both bringing unique abilities to the table and elevating the other's talents as a result.

Musically, Fabulous Muscles is Xiu Xiu's finest hour.

Imagining an all-acoustic version of Martha Wainwright hints at the true potential lurking beneath the strings and high-calorie programmatic flourishes that, while undeniably pretty, detract unnecessarily from the eponymous focal point.

Despite losing creative momentum down the stretch, it’s still a remarkably affecting and mature record, proof that Chan Marshall kicks off the second act of her career in top form.