Indie pop fans, brace yourselves for a daydream trip.

Despite the simplistic formulas present here, these young men have patched together a sound that is catchy and eager for additional spins.

The least necessary Mase album, but half the tracks point to a future that is brighter than ever.

If it was pared down to its best tracks, Winchester Cathedral would make a solid EP. As it stands, it's far from bad, but it's a little boring, which is worse than bad from a band that has sounded so unique in the past.

This is music that works almost entirely as a surface pleasure; strip it of its pretensions, and it's just contemporary easy listening music.

While many will no doubt see this as an unfocused record, those who take it on more of a song-by-song basis will value it as a respectable addition to RZA's body of work.

Arguably, some prudent pruning might've made the album great instead of good, but even the album's uneven moments are still pretty enjoyable.

Short, simple, and lively, a collection of rollicking, quirky road songs that recall some of the more oblique moments on Teenager of the Year and the more rock-oriented tracks on Pistolero and Dog in the Sand.

Despite its flaws, Forget Tomorrow has enough beauty and creativity to suggest that Macha's best music may still be ahead of the band.

Although the musicians here understand how to convey complex emotions in a pop song, Wilson and his co-songwriters obviously don't, and it's with them that the blame for this record lies.

Though it is still faithful to much of the feel of Let It Be, the presentation of Naked, including the slight bits of modern-day editing, reveals that it is revisionist history, not the final word. Which doesn't hurt it as a record -- these are great songs, after all -- but it is a bit disappointing that this long-awaited project wasn't executed with a little more care and respect for the historical record.

Nothing scrambles the brain like Tomorrow Right Now's "Hot Venom," and no track has lyrics that hit as hard as Now, Soon, Someday's "Win or Lose You Lose," but the album maintains a consistency that neither of those releases can claim.

Face it, if The Donnas Turn 21 sounded as shamelessly sexy as the lyrics and tarted-up images, it'd be a hell of a little rock & roll record. Instead, this inspires feelings of guilt instead of guilty pleasure.

Overall, American Life is better for what it promises than what it delivers, and it's better in theory than practice.

Sounds fresher than anything the group has attempted in a long time.

Though both the lyrics and the production are quirky, there is nothing dumb about them.... The melodies have brilliant pop hooks and Russell's voice soars.

Overall, MACHINA meanders due to a combination of amorphous songs and precisely detailed production.

If they can keep this sound and get back the hooks, they'd have something as good as their first two records, but, as it stands, this is their first stumble.

The Photo Album does not quite meet the standard set by 2000's stellar We Have the Facts and We're Voting Yes on a song-for-song level, but it's still a moving and intelligent collection of wistful pop.

There are occasional lapses in the lyrics department.

A solid, if average, album.

Under My Skin is a bit awkward, sometimes sounding tentative and unsure, sometimes clicking and surging on Avril's attitude and ambition.

It's hard not to walk away with the feeling he's capable of better than this.

These flashes of greatness don't quite add up to what could have been, but the album as a whole is still quite exceptional.

It isn't necessarily memorable, but as an exercise in measured, even artistic rage, it's classic Hamilton.

The end results are a bit unwieldy, perhaps, and not always successful, but it is interesting and certainly different than a Dave Matthews Band record.

Get ready for the hardcore fan backlash but Greater Wrong Of The Right at least makes up for The Process and with stunning structure from Key it beats most of the current industrial music competition.

A solid rock effort.