To kick off the summer CD Review Column, the Daily has decided to take a look back at a few of the biggest releases since the end of the spring semester.

Dave Matthews Band

Crash

Musically, Matthews and his quartet have gone on to bigger and better things.

The band explores a number of different instruments including the flute on the beautiful “Say Goodbye.” “Let You Down” ends with a catchy whistling solo by saxophone player Leroi Moore, while a funk-driven brass section carries the way on the opening “So Much To Say.” Lyrically, Matthews extends deep into his own heart, proving to be one of the most profound music writers of his era. The almost “Satellite” sequel “Say Goodbye” and “Two Step” dance around with lyrics of love and frustration.

Crash features everything on Under The Table And Dreaming and more, but is plagued with the lack of a few radio-friendly tracks. Crash drives on a central feeling of progression and maturity.

Although you can’t go wrong with Matthew’s inviting range of vocals, Crash is unlikely to create the boom of their last release. Dave Matthews Band has mellowed a bit, but the mellowing has created some beautiful work.

The Cranberries

To The Faithful Departed

Dolores O’Riordan returns with her full line-up for The Cranberries third release, To The Faithful Departed. The Ireland quartet creates a rollercoaster of emotions as the tracks jump from tender ballads to fast-paced almost punk rock.

O’Riordan deals with a number of serious issues in a melodramatic tone that becomes repetitive in some areas of the disc. “Salvation,” “Forever Yellow Skies” and “I Just Shot John Lennon” serve as soothing reminders that The Cranberries can still rock.

Among the menagerie of ballads is the beautiful “War Child,” which sounds as if it could be a classic Irish folk tune. With her high pitched falsetto, O’Riordan sounds as concrete as ever.

To The Faithful Departed may be The Cranberries most artistic release, straying far away from thecomercialism they’ve shown in past work. It is definitely a big development in The Cranberries timeline and no doubt a keeper.

Rage Against The Machine

Evil Empire

Another sophomore effort with no dissapointments is Rage Against The Machine’s Evil Empire. As the long-awaited follow-up to 1992’s self-tilted debut, Evil Empire had huge expectations, none of which the L.A. quartet doesn’t meet.

Outspoken vocalist Zack De La Rocha stabs into a number of political and religious issues with an angst true to the Rage style. The almost encouraging “People Of The Sun” and the Higher Learning soundtrack contribution “Year Of Tha Boomerang” serve as perfect bookends to a collection of catchy hip/hop metal.

De La Rocha carries some powerful lyrics, weaving them perfectly into the powerful guitar driven sound of the band. Song by song, Evil Empire can be almost too easily matched up to songs from their last album (try “Without A Face” to “Settle For Nothing”).

Evil Empire is full of life, an unfamiliar characteristic in both the metal and rap scenes. This record may never reach the classic status of their debut, but it will serve as some tough competetion.