The aim over too much of this record seems to be simply getting Kate Nash airplay without worrying overly much about a musical backing that suits her songwriting.

Most of the time, Nelson just sounds like an old pro happy to play with whoever is in the studio, happy to sing whatever the producer puts in front of him--and that's what makes Country Music not all that different from Songbird or Countryman, which were also driven by their respective producers to places that don't seem as classically country as this purports to be.

Blue Sky Noise, with all of its spit-shine and modern rock luster, may not move mountains outside of its own pained and heavily marketed demographic, but as long as superhero movie franchises remain profitable, bands like Circa Survive will be there to play over the credits.

The timing could be much better, but the songs aren’t bad at all, with most of the material taking its cues from Jason Mraz, Ben Harper, and other folk-pop heavyweights.

Despite the obvious stylistic proficiency at play, Double Jointer is a bit too au courant (maybe it's all that reverb) to have much of a long-term impact.

It’s all very eclectic and a bit unexpected -- two qualities that seem to be Keane’s modus operandi as of late -- but what’s missing is a pop anthem along the lines of “Again and Again” or “Bend and Break,” both of which allowed Tom Chaplin to flex his vocal chops on past albums.

Perhaps the results are predictable, but they are satisfying, and it’s better to have new music from this duo than none at all.

It’s the first half of the album that is more substantive and memorable.

Their charm wears thin with each passing track, and Stride's hit-making approach becomes increasingly plain in the process. In the end, it's something of a blessing that Everybody Wants to Be on TV is over and done with in a mere 34 minutes' time.

[Moody has] created a record that could have been released in 2005 instead of one that sounded just a bit like 2010.

While they have many good ideas, sometimes they have too many good ideas at once and end up gilding the lily (or putting a blue fake fur mustache on it, as the case may be).

Those fans seeking a return to Godsmack's roots will not be disappointed; for others, the sound may be a retrenchment because there was no place else for them to go. The only undebatable thing is that The Oracle is the most aggressive disc Godsmack have issued since their debut.

Break off a single or two and leave the rest for aspiring producers to study.

Fans of Far will be able to appreciate At Night We Live as a further evolution of Water & Solutions, but new listeners will have a hard time finding a fresh experience.

There's nothing particularly wrong with any of this, but despite this expanded stylistic and instrumental palette (and some notably lush, lovely vocal harmonies), it's hard to escape the sense that this album is, ironically, even more of an indulgently dabbling affair than its home four-tracked predecessor, which at least had an appealing simplicity and directness of approach.

There's enough honesty in his rich, warm voice to render even the most forgettable tracks into pleasant diversions on the way to future favorites.

The playing is solid, but one wishes Petty & the Heartbreakers had simply covered some of those old Chess classics rather than trying half-heartedly to write their own -- it would have made for an album closer to intent.

Barbara shows that We Are Scientists know what works for them, and even if it never quite breaks the barrier between pleasant and great, it's almost always enjoyable.

At times Can't Be Tamed feels perfunctory, getting the job of showing Cyrus is growing up without making her too mature for her still-young fan base and little else.

While a few hooks stand out--particularly the "fisticuffs" chorus of "Fixed"--most of the songs are too watered down, lyrically and musically, to be truly enticing.

Shame that one-joke ideas like "House Party" get blown out of proportion, and even worse, the healthy helping of filler is obstinate, refusing to fade into the background because of over-the-top performances. 3oh!3 are nothing if not loud and shameless, so if you expect end-to-end excellence from their albums, you've got a lot to learn about cheap thrills.

HTDA's debut EP doesn't consist of dressed-up leftovers from The Slip: some of Reznor's obsessions remain recognizable, but having collaborators opens up the music and Maandig softens it, giving this EP a different feel despite some familiar sounds.

McLachlan simply sounds like McLachlan here, seemingly unaged by the seven years that have elapsed since her last record and unconcerned with new trends.

There are moments during MAYA when it seems like M.I.A.'s next move might involve walking into a laundromat, filling the dryers with bricks and silverware, pulling the fire alarm, blaring a drop-forge beat from a tinny boombox, and recording the result.

Luckily, the sound of the band remains unchanged, and as one of the best drummers in the business, Portnoy picks up the reigns and rides the Deathbat's double kick in complete synchronicity with Gates, Christ, and Vengeance.

There's a laid-back, late-night vibe maintained throughout Obadiah, as Ford unleashes her moody croon over slow to midtempo tunes colored by piano, organ, and Tanyas member Trish Klein's guitar work and powered by mellow but funky, slow-rolling grooves.

Deth Red Sabaoth sounds like what a lot of the Samhain/Misfits fans wanted the group's 1988 debut to be: a raw, dirty, D.I.Y. collection of comic book-inspired violence, thrust together by the unholy union of punk and metal.

Ten singles--these voices could have used some better material--but the album will likely please most of the fan base, as it is a rather skillful update of the familiar.