Deathsentences' series of white-noise sculptures is certainly interesting, but the materials that accompany it will have a far more lasting effect upon your consciousness.

His most diverse collection of songs to date.

While not as thrillingly consistent as its predecessor, Man Mountain is another beautiful synthesis of man-made ingenuity and machine-generated textures.

While the band revisits and expands upon musical ideas from its past, Nextdoorland never seems like warmed-over Soft Boys history; the arrangements are exponentially deeper, the playing is energetic and economical, and the songwriting has clearly benefited from Robyn Hitchcock's twenty-year career.

Its startling brand of dreamlike space-folk, while reminiscent of earlier efforts like Stereopathic Soul Manure, is a wholly unique venture.

Dirty Dancing is a thoughtful, darkly humorous album -- a consistently danceable mix of state of the art electronic music trends.

The Creek Drank the Cradle is very surreal, mythical, haunting; it creates a mood of warmth and comfort, and makes me feel as if I've been transported to another, far more peaceful plane of existence.

After a couple of trips through Trust, you might feel like I did -- uncertain whether you'd just had the best sex of your life, witnessed an astonishingly moving church service, or attended the funeral of a life-long friend.

There's emotion, extraordinary technique, and a surprising, oh-so-welcome passion in the singing.

Ultimately, the album's even-handed mix of [vocalists Helen] Marnie and [Mira] Aroyo makes Light & Magic a tasty cocktail of fiery sensuality and icy perfection.

Unlike many live albums, which edit out or otherwise correct artists' less than studio-perfect moments, this album offers Hayden at face value. It captures his faults, but it also captures his strengths.

How Animals Move is a strange and uneven but ultimately captivating effort by a talented musician/composer.

Divine Operating System has something for everyone (unless, of course, you have a rabid hatred of disco... then you might not dig it too much).

It's hard to put into words exactly what makes this album so appealing. The mindlessness of it all is a major selling point.

For sixty-two glorious minutes, Barry Adamson can add a little danger, a little glamor and a little seamy excess to your humdrum existence.

Underneath all those shiny, shiny flourishes and moddish overtones, though, is some seriously smart, witty music, for the most part.

Attention is a bubbly, pleasurable confection of an album, with beats enough to move your ass and plenty of hooks to keep your, um, attention.

The bottom line is that QOTSA turns in another genre-demolishing, hard-as-titanium album in Songs for the Deaf. This is not your father's metal. It's better.

Devoid of obvious weak points, Lost In Space sounds sad without ever becoming schmaltzy.

Since We've Become Translucent does an almost unimaginably good job of adding heft, weight and, god I hate to say it, maturity to the garage idiom.

If you take your pleasure from the sheer palpability of the music -- the way it walks icy fingers up and down your spine, and paints pictures in the air, so real you could step into them -- Blacklisted will enjoy a long, happy stay in your CD player.

Oooh! takes everything The Mekons have achieved 'til now and makes it rock in truly celebratory style.

While they don't quite have the cross-gender appeal of the Yeah Yeah Yeahs, the pouty disagreeability of the Strokes or the urbane refinement of the Walkmen, they heedlessly summon the spirits of post-punk monoliths like PiL, A Certain Ratio and the Pop Group without forsaking their gritty New Yawk-ian roots.

Zoomer has a warmth and spirit that makes the work endearing as actual songs rather than chunks of carefully manipulated data.

The complexity and depth of the songs has increased; the band sounds less like they're trying to channel The Pixies, and more like they're reaching toward the sublime.

As you might expect, the sheer number of tracks means there's a sizeable dollop of filler.

This is one tight little record.

Buy Turn On the Bright Lights. It's great. You'll enjoy it. But don't mistake the next best thing for the Next Big Thing. Interpol still have a lot of proving to do.