Pearl and Eatherly don't escape their past entirely on Break It Up, but they're well on their way to waving goodbye to it.

It'll doubtless put some smiles on some faces as it goes, but it neither reaches for more nor tries to be anything less. Perhaps it is enough, but does it have to be?

Spiral Stairs remains a pleasing, if not especially exciting, singer/songwriter and Real Feel showcases both of these sides effectively, rambling on nicely as it strolls through its songs, but never quite getting into any interesting territory.

Her raw vocal skills remain impressive, as does her taste in soul, and even if this feels off-kilter, not quite achieving a balance between retro and modernity, it does beat with a messy human heart, one that was subdued on Introducing, so perhaps she did need to break free.

The overall mood of the album feels a bit broken and battered, but comes off too polished to let that feeling drive home.

Maybe it would be easier to give The Fountain the benefit of the doubt if it hadn't been preceded by four similar efforts, or if singer Ian McCulloch hadn't spent the band's entire career unabashedly proclaiming their genius and preeminence in the rock world, but that's a lot of "if" to work with.

Thanks to some familiar melodies, it can sometimes seem seasonally appropriate, but it always seems purely Tori, who has somehow managed to deliver an easy listening version of all her signatures in one tidy, not so-Christmasy, package.

Returning fans may take comfort in these cathartic anthems, but those who were won over by "Poison Trees"--a return-to-form effort that combined melody with more nuanced arrangements--will prefer the deluxe edition's acoustic disc.

This EP marks a vital point in POBPAH's artistic development, a chance to see that they aren't willing to just sit back and repeat themselves. It's a pretty good listen, too.

Unhip it may be by design, but at least Kris Allen delivers the goods: it’s tuneful and likeable, melodic enough to merit a close listen.

Apart from the inclusion of 'Mrs. Vanderbilt' and 'I'm Down,' there are no surprises, either in song selection or performance, but no surprises doesn't mean no satisfaction, and this is plenty entertaining.

The relatively stripped-down setting winds up letting the rockers of the album’s first half latch in, particularly the rather propulsive “Trouble,” the nimble “She’s Alright,” and rolling “I Got Your Number,” and does keep the succession of anthems and ballads on the second half from seeming too languid.

Har Mar Superstar's never been known for solid full-lengths. He's a song-based artist, and Dark Touches features some of his best singles.

Boyle sings beautifully throughout, delivering more of the same of what she did in her moment in the sun on television. Those won over by Boyle, either her voice or story, will surely be satisfied.

Allison may strongly resemble her idols here, but chalk that up to youth and it doesn’t prevent her from conveying considerable charisma.

It's an experience, to say the least. At the same time, The Great Misdirect is the type of overblown record that asks the question, "Is there such thing as being too ambitious?"

What saves it from being nothing but thirtysomething wish fulfillment is that this move toward goth-glam requires 30 Seconds to emphasize hooks and gives them aural variety, which doesn’t make them seem any more serious but does make them considerably more palatable.

Up to Now may be somewhat overwhelming for casual listeners — it's quite extensive, with the traditional hits sprinkled throughout a double-disc track list--but there's no better destination for a fan looking to consolidate his collection.

Chances are, Extended Vacation won't rope in fans of Gray's and Kotche's respective bands Wilco and Gastr del Sol, since it's a far cry from alt-country or math rock, but those looking for something that's avant-garde but fairly easy to digest might find this minimalist mood piece strangely soothing.

Even if they're not as rambunctious here as they were on their debut, Turbo Fruits' exuberance carries Echo Kid over most of its rough spots.

Fans hungry for SM material won't mind at all, since after three years a redundant track beats no track, and while all of it seems familiar, the crew deliver the material with new life, suggesting they're mad happy to be back on the grind.

Snooty taste makers and parents should avoid Animal at all costs, but with so many fun, “TiK ToK”-type tracks, the album has plenty for both brats and the bratty at heart.

Black Swan is a definite sign of progress, though, and the band would do well to follow its path on future releases.

They resisted the temptation to knock out another collection of power pop and instead hibernated for a few years, eventually teaming up with Dave Fridmann--a former member of Mercury Rev best known for his production work with the Flaming Lips--with the intention of reinvention, resulting in the mildly bewildering Of the Blue Colour of the Sky.

There is charm to Starr’s tried and true: exciting it is not but it’s as comforting as an old friend who doesn’t change, he just stays the same.

Like all the other installments in the series, this one makes a nice addition to a hardcore supporter’s collection.

This pimp from Shreveport sounds best when swaggering and rarely steps out of his comfort zone.

Albums like this pretty much ask you right away to either turn it up or throw it out, and there's no denying the polarizing nature of D.I.Y. indie rock, but Jookabox is consistently visceral, darkly funny, and wholly unpredictable enough to warrant more than a cursory spin around the neighborhood.