With SMILERS, Aimme Mann moves one step away from her overt pop tendencies towards a more '70s singer/songwriter sound.
REAL ANIMAL is a return to Escovedo's punky roots, and is the most hard-rocking solo album he's ever released.
The tunes are his strongest so far, while his approach here is even more elegant and refined.
On DIGI SNACKS, RZA aka Bobby Digital forges ahead with a true feast of aural weirdness that will delight his loyally blunted fanbase.
On VIVA LA VIDA OR DEATH AND ALL HIS FRIENDS, Coldplay tweaks its signature Britpop sound with help from renowned producer Brian Eno.
![Album cover for Pacific Ocean Blue [Legacy Edition]](https://fastly-s3.allmusic.com/release/mr0001141887/front/220/EpZve0tul57okBStYNa2ER_TZlp6n_cq-Emr2zx15tU=.jpg)
The two-disc reissue contains not only outtakes from this album's sesssions, but the entirety of Wilson's never released second solo album, written and recorded in 1978 and '79.
Released in the same year Emmylou Harris was inducted into the Country Music Association Hall of Fame, ALL I INTENDED TO BE has a strong feel of summation.
On their Sub Pop debut, Seattle’s Fleet Foxes offer up highly melodic folk-tinged indie rock.
Techno auteur creates murky beats and ambient drone from snippets of modern classical music.
Originally recorded in Denver in 1975, this live album was Gene Clark’s first solo in-concert release.
Memphis maniac Jay Reatard gathers all of his singles and EPs in one convenient place before starting on the next chapter of his prolific career.
Following her breakthrough album REAL LIFE, TO SURVIVE finds singer-songwriter Joan Wasser in an exploratory mood.
Their first album for U.S. hipster-indie label Vice finds the band pumping out high-energy rock 'n' soul on all cylinders.
With its churning electro-scapes and flatly intoned female vocals, Ladytron’s music might be too pat if it weren’t for their fine melodies and sense of popcraft.
The daughter of the late '70s R&B star Donnie Hathaway, Lalah Hathaway shares a familial aptitude for a mellow, tender melody.
In the third installment in the THA CARTER series, Lil Wayne proves he’s earned the right to ego-trip, letting his off-kilter flow and vocal acrobatics run wild.
Ribot's Ceramic Dog might be a rock band with power trio format, but the music here is as adventurous and wide-ranging as you would expect.
My Morning Jacket strays far from its alt-country roots on this willfully diverse 2008 album.
Baltimore splatter-pop noisemeisters' debut hides indelible hooks beneath the layers of chaos.
ROOK is all baroque grace and dramatic elegance, mining the near orchestral, dark caverns of chamber-pop masters such as Tindersticks.
Critically acclaimed fifth studio outing by Iceland's cinematic noise kings.
Darkness haunts some of the details but, for the most part, CHEMICAL CHORDS is a sunny affair.
Supergrass returns to its signature amped-up swagger on 2008’s DIAMOND HOO HA.
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Britpop vets the Charlatans U.K. return with this assured 2008 set.
Survey of the overlooked Atlanta soul scene of the late '60s, centered around the Tragar and Note labels.
It took him 14 years to follow up his solo debut, 11 TRACKS OF WHACK, but CIRCUS MONEY doesn't feel even remotely labored.
![Album cover for Weezer [Red Album]](https://fastly-s3.allmusic.com/release/mr0001846275/front/220/almzYpK29BctbQ9_HMV9XT6KsMttLlyBmmVTZ6_CLs0=.jpg)
The third self-titled album by Weezer mixes the hooky sound of their 1994 and 2001 releases (known as the ‘blue’ and ‘green’ albums, respectively) with the experimental tendencies of efforts like PINKERTON.
AT MOUNT ZOOMER is an album that grasps at the straws of classic canonical influences without bowing awkwardly at their altar in its attempt to spin a sophisticated pop gem.