Taken as a whole, Not Without a Fight is a pleasant listen, mature in its outlook, and happily adolescent in its vigor.

Sonically, it captures the Evanescence mythos better and more consistently than the first album... but without the songs, it doesn't resonate.

Fork in the Road is charmingly clunky, a side effect of its quick creation and Young's hard-headedness. Neil might be writing records as quickly as a blogger these days but musically he's stuck in the past, never letting go of his chunky Les Paul and candied folk harmonies.

It's not something that will convert doubters, but it's done well and performed with conviction

Live versions of "Hush," "Part of Me," "Push It," and "Third Eye" reaffirm the band's standing as one of alternative metal's most compelling live acts; unreleased studio tracks such as "Message to Harry Manback II" and "L.A. Municipal Court" definitely sound like abandoned material, but offer a look at Tool's quirkier side.

They've managed to ignore their ill fortune and suffer through the hecklers, and have -- in the best possible way -- given listeners a 54-minute soundtrack for the paper bag scene in American Beauty.

If nothing really catches hold as a song, there's still a lot of tuneful, appealing material here, and it functions well as a party album for those hot days of summer.

So, the ballads are smoother than ever, and their dance numbers hit harder, all in an attempt to keep their throne. It works, even if it takes a couple spins before you can discern the future singles and even if there is a bit of filler on the record, since the Backstreets' material isn't just stronger than that of their peers, but their voices are stronger, all adding up to teen pop that is unquestionably the state of the art.

As with most records, there's a bit of filler that could be trimmed to make a great record into a phenomenal one, but it's easy to forgive when the quality is so high.

It's fun, to be sure, especially for the fans who are the compilation's target audience, but everything here sounds like the classic definition of B-sides -- good and familiar, but not as good as what made the album.

The album is little different than their two previous atom bombs, De-Loused in the Comatorium and Frances the Mute -- tense and anxious, continually pushing the boundaries of extreme production, with long periods of dynamics that rise ever higher, followed by an explosion of release (usually screaming hard rock with storms of atonal brass and horns).

ADD is certainly one of the more interesting AmIdol-related records, but so much commotion without construction is ultimately as forgettable as Jordin's pageant-winner trifle, and perhaps a little more tiring to get through, too.

Nine Lives is deeper, heartier, and braver lyrically than anything he's ever done.

David Cook [is] remarkably similar to the debut of his AmIdol forefather, DAUGHTRY, but where Chris Daughtry wallows in his stylized amorphous angst, Cook is a friendly puppy dog, eager to please.

Whether or not you can get with Malin's other records is immaterial; this one should be embraced by anyone who loves rock & roll.

Most of these songs feel like quickly dashed off poems; it's all "tell" with no "show," because there isn't anything in the music to effectively offer them to the listener as conversation; instead they are on display as mixed-message sermons.

Pomegranates may need some more time to ripen fully, but Everybody, Come Outside! will still be a treat to some palettes.

Joan of Arc's work on a whole generally tends to be pretty loose, but sorting through the remnants and mood pieces on Flowers can make "Boo! Human" seem absolutely cohesive in comparison. Oh well. It's still totally listenable and likeable.

Espoir is one of the great surprises of 2009.

They will need to move on eventually, but for now Bricolage are just fine doing what they are doing, and their debut delivers on the promise of their early singles and then some. Edwyn (and Vic and James) should be proud.

Moneen's 2009 release, The World I Want to Leave Behind, is certainly a sign of the times in the rock world--intricate musical bits are combined with emo-like vocals, and in the process, the group never forfeits the importance of melody.

The Optimist won’t make anyone forget Fantastic Playroom, but it does work as a nice complement and shows that the group may have some staying power.

[Woomble] continues his journey into cozy-pipe-and-slippers-middle age on 12 folk-pop tracks which further distance him from his angsty, indie rock beginnings.

While a few of these songs stick in your ear right away, perhaps not surprisingly for a band named after small statues, the overall tone of the album is one of detailed intricacy.

Amazing as the music consistently is, however, it can't overcome this album's primary liability, which is Martyn's atrocious singing.

Dre's short, spoken bits end up the only speed bumps during all these twists and turns, and when you're complaining about interludes instead of the overall attitude of a Game album, you've got an obsession-free, almost relatable success that sacrifices none of the man's fire or skill.

It's certainly accomplished and self-assured, and at its best the results are truly impressive.

The album grows stronger as its second half wears on.

Union is a pleasant listen, but never quite reaches the anthemic heights the band is trying for.

Whether you want to label it post-rock, post-Krautrock, electro-rock, or some appellation of your own devising, Den does the Kreidler discography proud.

A solidly enjoyable, radio-ready pop album.

Atmospherics and meticulous recording are as important as ever, and while you can take a copy to the stereo shop to make sure that amp sounds rich and warm enough, the album is slightly more song-based than previous efforts, so finicky fans might gripe when the lyrics go quite Depeche Mode or James Blake.

The record may be a little short on variety, but it is long on mid-fi energy, and will give fans of the kind of stripped-down and live-sounding rock Dead Moon and the Wipers cranked out plenty of warm and nostalgic feelings.

While the ominous vibe is spot-on, the overall lack of hooks and power makes the record feel more affected than connective.

Gucci's inspired by more serene and soft moments at this point, so call this the most "couch locked" of all Trap Houses and get prepared to sprawl out for a long, low ride.

It's not fun but it's not meant to be: it's a bunch of lifers in their middle age reconnecting with the things they found important back then.

The album is split down the middle with the first half made up of shimmering, supercharged dance tracks that have disco and house influences and seem destined to fire up clubgoers with their soaring choruses.... [The final four] songs aren't as successful, thanks to the somewhat syrupy melodies and clichéd lyrics, but also because Cher's vocals sound a little worn and frayed around the edges.

Plugged In holds up well--20 years later, its isolationist roots rock doesn't feel dated as much as it feels out of time--and having a five or six strong cuts added to it does enhance its value, yet it's hard not to wish that ...Again was a full-on new album instead of this half-measure.

As a whole, Like It Never Happened benefits from its lower-budget production. It is, if anything, more imaginative than her previous albums.

Building upon the anthemic synth pop of their previous 2013 album, Anna, the Manchester outfit delve even deeper into a layered post-punk sound that finds them adding more guitars and even strings on some cuts.

If Florida Georgia Line feel anonymous, that's not a bug: by design, they're playing to the largest possible audience, so nobody should be surprised that Anything Goes is so broad it avoids such messiness as personality.

The wonderfully weird "Vegas" from Bad Meets Evil (Eminem and Royce Da 5'9) makes one wish the Shady label boss would find more time for the project, but he's already quite stretched behind the scenes, producing or co-producing eight of the cuts on disc one, including Skylar Grey's "Twisted," which isn't hip-hop, but glittery and goth giganto-pop. Great, grand, risky, and clever moments like this make Shady XV the worthy celebratory object that it is, but don't expect a deep roster or a cohesive game plan, because the label has always been more about close friends and family.

Having been immersed in the changing tides of independent hardcore and emo since 2001, the band makes nods to its seasoned pedigree with the song title "The Jade Tree Years Were My Best," referencing Delaware record label Jade Tree, which reigned supreme in emo circles during the late '90s.

Brava has a unique voice, one that's choppy, quirky, welcoming, and likely smells of blunts when it burps.

It is recognizably the album in its form but not quite in feel.

With every album, Souljazz Orchestra bring provocative surprise and musical delight. Resistance is no exception; it's chock-full of vitality and adventure.

Suitable for backgrounds and times when you just want something pleasant as a diversion, but not much more.

This rough, honest, and ambitious work is like his Raging Bull, taking the listener on a compelling, dirty journey that's also a connectable character study.

The tension and unease conveyed in BBF's earlier output is present here and is magnified by Sheppard, who comes across as an anxious bohemian drifting and acquiring wisdom through a nocturnal and aimless existence.

If this is Brent's album, existing for comedic reasons purely to accompany the film, then it fulfills its purpose. However, taken at face value, it's nothing more than a mish-mash of classic rock tropes and controversial lyrics.

The tempo would benefit from being quickened at times, as one track blurs into another, and given the range of styles and instrumentation you would hope for a more multicolored experience. But Digging a Tunnel remains a fascinating collage that suggests Wästberg has the imagination and ability to build on these worthy foundations in the future.

Though much of the record lies in a blander space somewhere in between, intimacy definitely takes a hit with Ultralife's expanded production, while its more radiant, rousing demeanor is likely to play well to larger venues and those seeking sunnier, or at least partly cloudy atmosphere.

Hurts have never shied away from grandiose musical gestures, something fans of their deeply emotive live shows and theatrical videos can attest to. With Desire, they've found a way to capture that amorous pop intensity and send it flooding back toward their audience.

Even outside of the film's context, Deacon's score is fascinating, brilliantly showcasing his skill at crafting experimental yet reflective sounds.

These old-fashioned album rockers are so loud and awkward, they overshadow the excellent singer/songwriter album that lurks at the core of I Knew You When. Such imbalance makes I Knew You When a bit incoherent, yet in its quietest and angriest moments, it offers some of the best music Seger has made in the 21st century.

As odd Neil Young albums go, Paradox doesn't hold a candle to Americana or A Letter Home, but this could have been trimmed down to an EP and it would have worked better. Fans will want to give it a listen, but they might not pull it off the shelf again for a while.

Godfather II isn't bad, but coming after a career highlight, it's quite disappointing.

Juice WRLD is wrecked, angry, and using drugs to cope, and even though his appeals come through at times, much of Death Race for Love transforms the listener into the shoulder that Juice WRLD is crying on.

Although it elevates the value of the underrated and divisive Stay Together and houses a handful of strong earworms, Duck ranks as one of Kaiser Chiefs' weaker overall efforts.

Often, his good cheer comes across as corny, a situation accentuated by the big, bright surfaces -- it's the work of pros who are working at home, seeking only to please themselves. As the spirits are sunny and the songs tuneful, it's hard not to find What's My Name ingratiating, even though much of the album is so good-intentioned, it's silly.

Detour de Force is a thoughtfully constructed album with songs that reveal the group's continued knack for balancing intimate, often humorous personal sentiments with more anthemic feel-good moments.

Throughout it all, Carlos Santana plays vibrant, vigorous guitar and he sounds as engaged playing with Corey Glover or Kirk Hammett as he does a posthumous Chick Corea. That these diverse strands don't quite get threaded together is OK: as a collection of moments, Blessings and Miracles does the job.

If Jude lacks in immediacy, such melodic tunes as "Not One Night" suggests this is intentional: Lennon has traded direct pop for an elliptical route that suits his skin.

Jon does sound more robust than he did on, say, 2020. It's also true that Bon Jovi isn't making music that would push their singer to his limits. Forever is filled with ballads and midtempo anthems that would sound bigger on an adult contemporary station than an arena. The subdued nature is accentuated by Bon Jovi's proud embrace of nostalgia.

Dreamland may have been the album that made Glass Animals big, but song for song, I Love You So F***ing Much's thoughtful, anxious pop might be more rewarding.

While Quicken the Heart isn't bad, its slide into the nondescript is certainly disappointing.

Overall, the album is more competent than distinctive; maybe next time, the 22-20s will show more depth and personality.

Sometimes befuddling but never boring, Rainbow Arabia is making music that ultimately sounds like no one else's.

Even when things get silly on We Can Do Anything, the silliness blows on by, headed toward a bit of revved-up folk or unexpected introspection, and those twists are what makes the album worth hearing.

If the songs on PlectrumElectrum don't stick the way those on Art Official Age do, it's nevertheless a quiet thrill to hear Prince spar with worthy partners, as he does throughout this record.

If your heart is shattered and you want to slide into self-pity, turn here. If you are feeling free and want to woo a new love, turn here. If you want to just enjoy every soft, supple turn a rock band could do, turn here. Coldplay are here for comfort, as Ghost Stories proves time and time again.

Catchy and upbeat, these are the poppiest offerings on an album that otherwise is content with patience, comfort, and peace.

While this is a fine, if uneven album, the only way to enjoy a significant portion of it is by taking it as pure entertainment.

Walk It Off is hardly a disaster, but it is a strange, lopsided album--despite its focus, it just doesn't play to Tapes 'n Tapes strengths as much as it should have.

The best track on 7th Symphony is "2010," which features a guest performance by Slayer drummer Dave Lombardo, who drives the music ferociously, a speeding train straight into hell. But too often, using cellos to play metal riffs (as on "Bring Them to Light," which features vocalist Joseph Duplantier of French avant-metallers Gojira) just winds up making the album sound like "A String Tribute To [Insert Metal Band Here]," and not in the cool, rethinking-the-material way that earlier Apocalyptica releases did.

Occasional resemblances to Drake and the-Dream are as blatant as the Isley Brothers and Michael Jackson exercises of Write Me Back. The similarities are so obvious that it's tough to discern if Kelly is acknowledging his younger followers, aiming to beat them at their game, or both.

The music flows, the production doesn't overplay its hand, it's pleasingly melodic, tempering tempers the extremities of Jagged Little Pill while retaining the character and, as such, it's easy to groove on the sound without listening to the words.

It's a decent second album and longtime Verve enthusiasts should leave it at that.

As the program continues, it becomes clear that he has reinvented most of the tracks in pretty much the same way, and the limits of his low-key, almost whispery vocals can grow tiring.

In Space is an album that should appeal to anyone who digs Alex Chilton; however, anyone expecting a Big Star album is going to be more than a bit puzzled by most of these tunes.

No matter what instrument he's playing or what he's singing about, his music still feels the same, which is enough to satisfy his fans but not to win him many new ones.

Musically, Houses and Homes is mostly stellar.

Only a handful of the tracks here have a lot of staying power, and the rest, while always colorful and even enjoyable, are fast to fade.

Though most of his career highlights also appear here, a parade of Paul Van Dyk productions is not what most listeners need to stave off boredom; his productions all work from a similar framework, and work best in the context of a broader mix set.

Sarcastic, sweet, subversive, geeky, and awkward are hard vibes to juggle, but Folds, Sledge, and Jessee manage more times than not to keep all of the pins in the air, which after more than a decade apart, is pretty remarkable.

Thoroughly enjoyable and high in replay value, this will be most valuable for younger listeners for whom H&LA functioned as a point of entry into house music.

The Mix Up is not a major statement, but that's the nice thing about the record: it's as personal and idiosyncratic as any old funky soul-jazz LP that you'd find deep in the crates of a second-hand record store.

Like a lot of second albums that aren't exactly a slump, Here We Stand is more accomplished than dynamic, but there are still quite a few enjoyable moments here.

As it is, Doo-Wops & Hooligans is an uneven debut that shows why Mars is likeable and popular, but doesn't tap into his full potential as a writer or producer.

What saves the record are the handful of songs that break out of the constraints of even-keeled melancholy and take (small) chances.

Youth and the group walk the line between grandiose and epic throughout, never falling on the wrong side even once.

This EP dazzles and then disappears before the sun comes up, leaving listeners with the exhilarating feeling of "wow," and the less-pleasing feeling of "what happened?"

The Search for Everything succeeds because he's not donning a new costume: instead, he's settling into a groove he can claim as his own, and it feels like he's at home.

Victorious amounts to little more than a thrown-together mess.

Highlights include an 18-minute version of "Cowgirl in the Sand" and a duet with the Pretenders' Chrissie Hynde on Bob Dylan's "All Along the Watchtower."

Just a shade less stunning than his last full-length, Emotional Technology at least establishes him as one of the better album constructors in the singles-driven world of dance.

That magic might be missed a little on Mirror Eye, but its fever dream-like intensity is more than compelling in its own right, and feels as subtle and natural as a shadow or a reflection.

Latecomers, as well as longtime fans whose favorite Moby material remains the Mimi Goese collaborations on Everything Is Wrong, should have no problem soaking it up.