It all starts with an Acid-stretched (the 1990s software program) vocal loop of indeterminate origin before the rhythm reveals itself. And that exact combination heralds the return of the Chemical Brothers, with their first new full length in four years. It's a subdued, weird, and slyly eclectic release. Beautiful Feeling isn't situated in any way close to the chill out room, but one supposes it's more suited to the pace that middle-aged bodies can dance to than the all-out assaults the UK-based duo leveled us with in the 1990s.The shimmering, k-hole-dropping "Feels Like I Am Dreaming" and the dissonant track four "Goodbye" are the real treats here; "Goodbye" is its own revelation. The distorted organs collide atop each other and a lovely house vocal sample, with a slew of sci-fi arpeggios beneath it all but the Brothers are not avant-garde. They never let it get weird for too long, but they know how to push an envelope or two. The beat isn't composed of a thousand cats yawning in sync; that beat sounds like a maxed-out 808 and you want to go to carpentry school just to learn how to raise the roof for it (sorry).That bass line which propels "No Reason" is straight-up future funk like one might have heard in a Paris club in 1999. Except not; the production is too of-the-moment, its structure a bit too perfectly skittery. Likewise, "Fountains" pits almost Caribou/Manitoba-style leftfield elements (and some downright ELP-worthy keyboard wankery) with four-on-the-floor crunch and very light funk vocals."Skipping Like a Stone," with Beck, is a sweet reminder that the 53-year-old can really hit falsettos well when he wants to.  Just when you think there might not be enough block rockin' beats, songs like "Magic Wand" and "The Weight" drop heavy funk in recombinant glory. The Chemical Brothers were of course one of the first to bring underground sounds to worldwide arenas. And sure, part of that has to do with the kind of spectacle they worked to create—something that Daft Punk and deadmau5 would later adopt, finesse, and blow to the sky so high that it was dead before it hit the ground. The reason the Chemical Brothers still matter is that they're still so good, and we need them. Even when they're treading water and not exactly innovating, that water's the perfect temperature, filled with really good looking people, and with promise of one heck of a fun weekend. © Mike McGonigal/Qobuz

Among the masterminds of this fifth album by Jessie Ware (UK), we notice the presence of Stuart Price, the legendary producer of Madonna's Confessions On A Dance Floor. A detail which speaks volumes about the general hue of the That! Feels Good! album, with its impeccable artistry and disco-funk rhythms which are as scintillating as they are dramatic. With her powerful voice, this new LGBTQ+ icon perfectly fulfils her role as a Diva, with the theme of freedom featuring highly on the album – that is, freedom as a political statement. In That! Feels Good !, she asserts that "pleasure is a right", using a rhythm that Prince certainly would have been proud of.  The same is true for the Free Yourself track, with the added bonus of strong piano notes typical of 90’s handbag house. With a singular blend of sophistication and assurance, Jessie Ware sweeps away all inhibitions, including sexual ones: we may feel somewhat uncomfortable by the eroticism of These Lips, while Shake The Bottle seemingly reveals the recipe for a successful orgasm. Euphoric and hedonistic, this album is also an ambiguous self-portrait, as evidenced in the Pearls track, in which Ware defines herself as a “lover, freak, and mother.” With nods to the 70s and references to the 90s, That! Feels Good! mixes many festive musical genres from the end of the 20th century, and sometimes even flirts with the pastiche. It is therefore more an album attuned to the nightclub scene, but that doesn’t take away its mischievous or glamourous side. © Nicolas Magenham/Qobuz

Yusuf is a talented singer and songwriter with an interesting past – in the 1960s and '70s he was the internationally famous pop singer Cat Stevens, whose thoughtful, soulful songs often had a spiritual bent. After the release of his 1978 album Back to Earth, Cat Stevens walked away from his career in music, embracing the Muslim faith and taking the name Yusuf Islam. In 2006, he released the album An Other Cup, credited to Yusuf, that found him gingerly easing back into the folk-influenced pop that made him famous, and since then, Yusuf has been making music that aims to strike a balance between the musical personality of his most famous work and his present-day spiritual focus and his dreams of a more just, peaceful, and generous world. In terms of this match of form and content, 2023's King of a Land may be the best album Yusuf has delivered since returning to popular music (and like his last several releases, it's credited to Yusuf/Cat Stevens, suggesting he's at peace with his musical past while wanting to remind us he's not exactly the man he used to be). Working with Paul Samwell-Smith, who produced the bulk of his 1970s work, on King of a Land Yusuf writes melodies that are more artful than his best-known hits but have a very recognizable warmth, and a mood that finds room for both joy and gravity. The lyrics are open in his devotion to God and our shared need for a more merciful world. The album's artwork features illustrations by Peter H. Reynolds, portraying a young boy in situations that match the stories and themes of the songs, and many of the tunes feel like fables for young and old, songs whose messages are clear but express their lessons with a gentle touch that doesn't feel doctrinaire or judgemental. (Significantly, "Son of Mary" is a compact retelling of the life of Jesus, subtly but firmly affirming that we all worship the same God). King of a Land is not quite pop-folk in the way "Peace Train" or "Moonshadow" were, yet the music is engaging and seems intended to soothe a troubled spirit, and though Yusuf's voice is just a bit sandy around the edges compared to his salad days, his performances are passionate without histrionics and speak of a wisdom he wants to share with all willing to listen. It's a well crafted and often moving album that mixes a bit of Cat Stevens' sound with Yusuf's heart and soul, and it honors both with skill and sincerity.© Mark Deming /TiVo

Long known as the steady diplomat who kept together the oft on-the-brink alliances of Crosby, Stills, Nash, and Young—until he couldn't—Graham Nash sounds, at 81, feisty on his seventh solo album. There's an edgy urgency to the music and his famous high tenor on the vibrant "Right Now." "Now that I realize just how I am/ When all is said and done/ What a life I've lived ... Here I am/ Still living my life/ Right now/ Right now!" he declares. And his life is not one of easy chairs. "Golden Idol" takes on the politicians who turned the other cheek in the Capitol insurrection of January 6, 2021. "I know they're lying/ 'Cause their lips are moving," Nash sings. "They're trying to rewrite recent history/ When the MAGA tourists took the hill/ They will not stand up/ 'Cause they're bought and paid for." "Stars and Stripes" is jangling folk with excellent harmonies that finds Nash poking at the root of American divisiveness: "Sometimes I wonder why the world is like it is/ Frozen by the fear of change/ If we keep believing all the lies meant to divide us/ There's no one else that we can blame." And while he aims to keep moving forward, he's not exactly looking to reinvent himself. "A Better Life" is imbued with that easy Laurel Canyon familiarity on which he made his bones in America. It almost feels like a follow-up to "Teach Your Children" told from the other side, with Nash singing, "We're going to make it a better life/ Leave it for the kids ... one we can be proud of/ So at the end of the day, we can laugh and say that we left them a better life." Sweet and simple, "It Feels Like Home" is like an echo of "Our House." It's one of several songs written for his new wife of only a few years, along with "Love of Mine," a bit of a heartbreaker with high and lonesome harmonica accompanying an apology for hurt feelings. Sharply bowed strings lead the way for "I Watched It All Come Down," as the singer recalls, "I watched it all come down/ To a rock and roll parade … I watched it all come down/ To a paperweight at the business end of town/ Loaded up and loaded down/ It's a mess." Nash has said that the song is about the thrill of making music with David Crosby, Stephen Still, and Neil Young, but also sadness that they let emotions (and, let's be honest, substances) get in the way of them making more. And looking fondly back on another part of his history is "Buddy's Back," a sweet tribute both to Buddy Holly—complete with a "Peggy Sue"-inspired riff—and his old pal in the Hollies, Allan Clarke. © Shelly Ridenour/Qobuz

With Wallflower, Diana Krall has made a journey to the wellspring of pop. For this album, coming out on Verve, the Canadian singer and pianist revisits tracks that were made famous by The Mamas & The Papas, Elton John, the Eagles, the Carpenters, Gilbert O’Sullivan, 10CC, Randy Newman, Crowded House, Bob Dylan and the Beatles. Diana Krall lends this collection charm, class and refinement which are all her own… © CM/Qobuz

It may be far too obvious to even mention that Norah Jones' follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away with Me has perhaps a bit too much to live up to. But that's probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away with Me was a little album by an unknown pianist/vocalist who attempted to mix jazz, country, and folk in an acoustic setting -- who knew? Feels Like Home could be seen as "Come Away with Me Again" if not for that fact that it's actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single "Sunrise," some reworked cover tunes, some interesting originals, and one ostensible jazz standard. These are all good things, for also like its predecessor, Feels Like Home is a soft and amiable album that frames Jones' soft-focus Aretha Franklin voice with a group of songs that are as classy as they are quiet. Granted, not unlike the dippy albeit catchy hit "Don't Know Why," they often portend deep thoughts but come off in the end more like heartfelt daydreams. Of course, Jones could sing the phone book and make it sound deep, and that's what's going to keep listeners coming back. What's surprising here are the bluesy, more jaunty songs that really dig into the country stylings only hinted at on Come Away with Me. To these ends, the infectious shuffle of "What Am I to You?" finds Jones truly coming into her own as a blues singer as well as a writer. Her voice has developed a spine-tingling breathy scratch that pulls on your ear as she rises to the chorus. Similarly, "Toes" and "Carnival Town" -- co-written by bassist Lee Alexander and Jones -- are pure '70s singer/songwriting that call to mind a mix of Rickie Lee Jones and k.d. lang. Throw in covers of Tom Waits and Townes Van Zandt along with Duke Ellington's "Melancholia," retitled here "Don't Miss You at All" and featuring lyrics by Jones, and you've got an album so blessed with superb songwriting that Jones' vocals almost push the line into too much of a good thing. Thankfully, there is also a rawness and organic soulfulness in the production that's refreshing. No digital pitch correction was employed in the studio and you can sometimes catch Jones hitting an endearingly sour note. She also seems to be making good on her stated desire to remain a part of a band. Most all of her sidemen, who've worked with the likes of Tom Waits and Cassandra Wilson, get writing credits. It's a "beauty and the beast" style partnership that harks back to the best Brill Building-style intentions and makes for a quietly experimental and well-balanced album.© Matt Collar /TiVo

After three decades, Spoon are undoubtedly masters of their craft. Having fully absorbed all their obvious influences from the Pixies to Tom Petty, they have a style that is identifiably their own. The idea now is to enrich and to find enough variations to keep the music fresh and moving forward. While their last album, 2017's Hot Thoughts, added electronics and even a drum machine, Lucifer on the Sofa has a more stripped-down guitar band sound. Vocalist/guitarist Britt Daniel and drummer Jim Eno recorded in Austin, TX, where the two had co-founded Spoon in 1993. Daniel moved back a few years ago (followed shortly after by guitarist/keyboardist Alex Fischel) and Eno's been running his Public Hi-Fi Recording studio there since 1998. They felt Austin would re-energize and inspire them, and Eno's studio would provide recording scheduling ease. (In the title track Daniel directly references the city: "Now you're thinking about Dale Watson/ Thinking about Turquoise/ All along West Avenue/ While those Blackbirds make their noise.") Given the strength of the new material here, the decision to make an album in Texas for the first time in a decade has worked out. The opening cover of Smog's "Held" is paced by a sharp, snaky guitar line and passing electronic squalls. Guitars in a loopy, low line with edged weapon accents drive "The Hardest Cut." Always a thread in their deep catalog, Daniel's inclination to add a pop turn now and then surfaces in the bouncy, "The Devil & Mister Jones." A different, though still accessible turn completes the love song stomp, "My Babe." Mirroring the band's career arc, Lucifer on the Sofa gets stronger as it plays on. Eno's drumming, one of the pillars of the Spoon ethos along with Daniel's voice (which remains in elastic shape), comes to the forefront in "Feels Alright," which along with the succeeding track "On the Radio" is 2022 Spoon at their very best: rhythmic, still urgent, and with sly hooks that have just a dash of raw punk edge. In "On The Radio" when Daniel asks, "They say, 'How come you still play that game, John Britt?" the answer, which answers every "why" about Spoon, is in his next line: "'Cause I was born to it." © Robert Baird/Qobuz

With their eighth studio album, 2023's ebullient So Much (For) Stardust, Fall Out Boy fully re-embrace the emo and punk-pop dynamism of their classic work. It's a soaring style they've been threatening to unleash ever since returning to regular activity following their hiatus after 2008's Folie a Deux. Although their subsequent follow-ups like Save Rock and Roll, American Beauty/American Psycho, and Mania all topped the Billboard 200, the albums often felt like the band were working hard to stay current, throwing their songs into a production blender of contemporary pop, hip-hop, and EDM sounds with varying degrees of success. Without ever sounding too much like a throwback, So Much (For) Stardust has a homecoming feeling, as if Fall Out Boy are getting back to their rock roots. It's a vibe that's underlined by the presence of producer Neal Avron, with whom they recorded the core of their most beloved albums, including 2005's From Under the Cork Tree. From the start, there's a balance of measured craftsmanship (they purportedly took their time in the studio) and big melodic hooks, all effusively delivered by singer Patrick Stump. It's an infectious combination the band perfect on the opening "Love from the Other Side," a song ostensibly about dealing with (and perhaps being the cause of) a bad breakup. That said, it could just as easily work as a metaphor for the group's attempts at transforming their sound coming off the emo highs of the early 2000s. Early in the song, Stump admits, "We were a hammer to the statue of David." There's a bittersweet nostalgia implied by the song, as if the band are looking back on their career and taking stock of where they (and by proxy their fans) find themselves in a post-emo, post-pandemic world. They return to that sentiment on "I Am My Own Muse," where Stump, bellowing against a symphonic string bombast and guitarist Joe Trohman's fiery riffs, sings, "Smash all the guitars 'til we see all the stars/Oh, we've got to throw this year away like a bad luck charm." This kind of bold rock affection drives much of the album, as on the '80s AOR of "Heartbreak Feels So Good," the Queen-meets-Michael Jackson post-punk stomp of "Hold Me Like a Grudge," and the dreamy new wave romanticism of "Fake Out." Adding to the emotional push of the record are several unabashed musical and pop-cultural references, including the Earth, Wind & Fire intimations of "What a Time to Be Alive," the Don Henley "Boys of Summer" flourishes at the center of "The Kintsugi Kid (Ten Years)," and even a snippet of Ethan Hawke's soliloquy about the meaning of life from Reality Bites in which his character offers up the adage "It's all just a random lottery of meaningless tragedy in a series of near escapes." Whether that's how Fall Out Boy feel about their career or not, So Much (For) Stardust is a gloriously welcome return to form.© Matt Collar /TiVo

A decade after their last album and the inescapable "I Love It" (featuring Charli XCX)—a song that pop culture still can't quit—the Swedish electropop duo Icona Pop are back. Caroline Hjelt and Aino Jawo had coasted on the endless party circuit of festival and dance celeb gigs for years, until the pandemic actually brought the party to an end. "Initially, we were devastated to leave LA and the whole system we had built there. Suddenly, we were in Sweden, and we felt alone. In retrospect, I'm very happy we were there, but there was a lot of crying at first," the pair said in a statement. But they regrouped "and thought 'what the fuck are we going to do now?' Eclectic, fun, hard, pop, deep, mainstream, catchy, weird, late at night, early in the morning—always with a tear in the corner of the eye and a smile on our face." That freedom and time to explore led them in a wild variety of directions. Chill "Fall In Love," with its catchy "fa-la-la-la in love" line, fits with Dua Lipa's sophisticated modern disco sound. "Need You" mixes R&B influence with a hard, metallic edge and throbbing undercurrent. "Loving You Ain't Easy" relies on cool-breeze piano and a skittish rhythm for its expression of naked desire. Hjelt and Jawo play with burbling pop on "Stockholm at Night" and "Feels In My Body," while "Desire" packs in deep house beats and features Joel Corry and Rain Radio. It's just one of many collabs, along with "I Want You" with EDM duo Galantis, the fun-house vibe of "Off of My Mind" with Vize, and kinetic "Shit We Do for Love" featuring longtime writing partner Yaeger. The star turn, though, is "You're Free," a rework of Ultra Naté's 25-year-old "Free" whose super powered vocals and pleasure-seeking focus perfectly jibes with Icona Pop's MO: "Yeah, I just wanna dance right now till my heels wear out!" And while "Where Do We Go From Here" is not as explosive as "I Love It," it still fizzes and pops and delivers a glorious build. But the wildest moments come in the form of "Stick Your Tongue Out"—a pulsing Peaches-esque banger that orders "lick it, lick it"—and closer "Spa," with guest stars Sofi Tukker. With rocking guitar and goofball self-care lyrics, it is pure camp: "Put some cukes on my eyes/ Tell me, is this paradise?" Tucker Halpern deadpans, while the girls declare: "I'm done with the club/ Just take me to the spa/ 'Cause I wanna feel the sweat/ From the steam room and the sauna." Why not? © Shelly Ridenour/Qobuz

More than a quarter-century after Tom Petty's Wildflowers was first released, it can finally be heard the way the singer-songwriter intended. When he turned in 25 songs, hoping for a double album, Warner Bros. asked him to pare it down to one. But just three years past his death, his family and Heartbreakers bandmates Benmont Tench and Mike Campbell (technically a solo release, Wildflowers features most of the band) have restored the record to its original glory and added in a trove of home demos, alternate takes and live tracks—some 70 songs in all. Produced by Rick Rubin while Petty's decades-old marriage was crumbling and he was reportedly battling heroin addiction, the 1994 release remains one of the all-time great break-up records; heard all together, the extended LP (the All The Rest part is produced Petty's longtime engineer Ryan Ulyate) Petty is a deeper devastating beauty. "New" tracks like the Byrds-y "Leave Virginia Alone," tender "Something Could Happen" and psychedelic Beatles-meets-Wall of Sound "Somewhere Under Heaven" are a comfortable coda to classics such as "You Don't Know How It Feels" and "It's Good to Be King." Extra track "Hope You Never" is a gorgeous, direct complement to old favorite "Only a Broken Heart." As perfect as the original album has always played, it's hard to imagine not including the swaying After the Gold Rush-esque "Hung Up & Overdue" (with backing vocals by Beach Boy Carl Wilson) or sunny, jangling "California" (which also shows up in a demo version, with a telling extra verse: "Don’t forgive my past/ I forgive my enemy/ Don’t know if it lasts/ Gotta just wait and see"). Dig into the home recordings, and it's an even bigger mystery why the harmonica-inflected "There Goes Angela" and plaintive "There's a Break in the Rain (Have Love Will Travel)" weren't contenders over, say, the Celtic-flavored "Don't Fade on Me." Chalk part of that first-listen awe up to the intimacy of these solo demos, which also cast a new, revelatory light on the gently folksy title track and "You Don't Know How It Feels." Live non-album favorites "Girl on LSD" and "Drivin' Down to Georgia" are captured here, along with a blistering "Honey Bee" and lovely takes on "You Wreck Me" and "Crawling Back to You." Tench has recalled Petty calling Wildflowers "the best record we ever made." Now it's even better. © Shelly Ridenour/Qobuz

At 73 years old, nothing seems to stop Ozzy Osbourne. Following his last studio album in 2019, Ordinary Man, he’s back again with Patient Number 9. It’s destined to be a huge hit, if only because of the mesmerising ensemble which surrounds the prince of darkness. Robert Trujillo (Metallica) is in charge of bass, while Chad Smith (Red Hot Chili Peppers) and the late Taylor Hawkins (Foo Fighters) alternate on drums. As for the guitars, they’re entrusted to Jeff Beck, Eric Clapton, Mike McCready (Pearl Jam), Tony Iommi and, of course, Zakk Wylde.So, let’s cut to the chase: what have this group of elite musicians produced? At its core, this is a great Ozzy album: well written, well interpreted and well-conceived. Naturally, the four guest stars stamp their unique mark throughout the whole release - just listen to Clapton’s weeping guitar on ’One of Those Days’ or Iommi’s Sabbath-style riff on ’No Escape from Now’. Each mark made feels perfectly logical thanks to the solid composition of all the tracks on the album. Despite the substantial length of this 13-tracker, there’s not one second of wasted time on Patient Number 9. Are you someone who likes heavy metal and screaming guitar solos? Then you’ll find what you’re looking for with Zakk Wylde and Tony Iommi. Do you like refined arrangements and the more intimate, nostalgic side of Ozzy Osbourne? Then ’A Thousand Shades’ (featuring Jeff Beck) will be the song for you, reminiscent of ‘So Tired’ from the album Bark at the Moon. Even the more radio-friendly side of the late 80s is represented here with the incredible ’Dead and Gone’… So, step right up–there’s something for everyone! Andrew Watt, who was responsible for the production of the previous album, has considerably scaled down his sonic eccentricities for this release. As you might imagine, Patient Number 9 sounds like a blockbuster. It’s got a huge sound and feels very contemporary, but there’s no doubt that this is 100% a metal album. © Charlélie Arnaud/Qobuz

There's a better than decent chance that, no matter where you are, Perth, Australia is pretty far away, a fact that pretty much makes Tame Impala mastermind Kevin Parker an isolated pop genius' isolated pop genius. Working mostly by himself, Parker mines this solitude with brilliant results on Tame Impala's sophomore effort, Lonerism. Diving headfirst into the realm of pop music, the way Parker uses keyboards to explore more traditional melodies makes the album feel like the McCartney to Innerspeaker's Lennon, blending the familiar with the far out to craft a Revolver-esque psych-pop experience. This shift from the guitar-heavy sound of the debut to a more synthed-out approach gives the album a more expansive feeling, allowing Parker to explore new textures through layer after layer of melody. As with Innerspeaker, sonic architect Dave Fridmann handles the mixing, and though he wasn't involved in the recording process, Lonerism definitely shares the producer's knack for using the space as an instrument in and of itself. This layering of not just sounds, but environments, creates a serene and lonely patchwork of sound, texture, and atmosphere that's a pleasure to explore, offering something different with every journey into its swirling haze of classic pop melody and modern, more experimental, construction. Most importantly, the partnership allows Fridmann to help shape Tame Impala's wild, starry-eyed ambition into something enveloping and accessible, a trick he's performed for the Flaming Lips and Mercury Rev again and again. This combination gives Lonerism the best of both worlds, allowing it the creative freedom to emerge as one of the most impressive albums of the home-recording era while still feeling superbly refined.© Gregory Heaney /TiVo

An icon of the 1990s (notably thanks to the single Torn), Natalie Imbruglia moved away from the studio in the 2010s (with the exception of Male, a cover album released in 2015), to focus on fashion and television. Written and recorded between the UK, the US and her native Australia, her sixth album is another example of what she does best: bright, airy pop rock. With her clear voice, our diva is as comfortable on the dancefloor (Maybe It's Great) as with vibrant guitar-vocal arrangements (When You Love Too Much) or with moving ballads (Change Of Heart). Natalie Imbruglia takes the listener on a rollercoaster ride from the abyss of the soul (Dive To The Deep) up into spiritual heights ("I'm aiming higher, older and wiser", she sings in On My Way). Co-written with Albert Hammond Jr. of the Strokes and Romeo Stodart of the Magic Numbers, the tracks on the album prove that Natalie Imbruglia is a true "firebird": light as a bird, but ablaze with passion. © Nicolas Magenham/Qobuz

By 1969, Gram Parsons had already built the foundation of the country-rock movement through his work with the International Submarine Band and the Byrds, but his first album with the Flying Burrito Brothers, The Gilded Palace of Sin, was where he revealed the full extent of his talents, and it ranks among the finest and most influential albums the genre would ever produce. As a songwriter, Parsons delivered some of his finest work on this set; "Hot Burrito No. 1" and "Hot Burrito No. 2" both blend the hurt of classic country weepers with a contemporary sense of anger, jealousy, and confusion, and "Sin City" can either be seen as a parody or a sincere meditation on a city gone mad, and it hits home in both contexts. Parsons was rarely as strong as a vocalist as he was here, and his covers of "Dark End of the Street" and "Do Right Woman" prove just how much he had been learning from R&B as well as C&W. And Parsons was fortunate enough to be working with a band who truly added to his vision, rather than simply backing him up; the distorted swoops of Sneaky Pete Kleinow's fuzztone steel guitar provides a perfect bridge between country and psychedelic rock, and Chris Hillman's strong and supportive harmony vocals blend flawlessly with Parsons' (and he also proved to be a valuable songwriting partner, collaborating on a number of great tunes with Gram). While The Gilded Palace of Sin barely registered on the pop culture radar in 1969, literally dozens of bands (the Eagles most notable among them) would find inspiration in this music and enjoy far greater success. But no one ever brought rock and country together quite like the Flying Burrito Brothers, and this album remains their greatest accomplishment. - © Mark Deming /TiVo