There is a chasm that separates "Video Games" from the other material and performances on the album, which aims for exactly the same target--sultry, sexy, wasted--but with none of the same lyrical grace, emotional power, or sympathetic productions.

Though obviously unconcerned with finding a place in the mainstream, this release just as cool and catchy as anything by Evanescence.

The guys still place more emphasis on mood than movement, but they're learning how to create atmospheres without resorting to stoner rock, which makes Sugar a step in the right direction.

A really good record by a potentially great rock & roll band.

It would be nice if some of the titular burn could be felt on Dierks Bentley's fourth studio album, but Feel That Fire is an atypically cautious, calculated affair from one of Nashville's best singer/songwriters of the 2000s.

Ultimately, there is a musical sophistication and higher maturity level to the Wanted's sound than you might expect.

Sound may have a slight edge over the originally released version of this material, if only because it's truer to the band's initial intentions, and Dandy diehards will certainly find it worth checking out, but more casual fans who already own Monkey House can probably skip it unless they're looking for an intriguing lesson in the nuances of mixing.

Apart from the breakneck 'Must Be Santa,' which barrelhouses like a barroom, Dylan doesn't really reinterpret these songs as much as simply play them with his crackerjack road band, dropping in a little flair--restoring "we'll have to muddle through somehow" to 'Have Yourself a Merry Little Christmas,' singing the opening of 'O Come All Ye Faithful' in its original Latin--but never pushing tunes in unexpected directions.

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.

Though Donkey Punch the Night isn't the best place to jump into Puscifer's work, it's a well-crafted and thoroughly entertaining EP that will definitely keep Keenan's fans hungry for more.

A couple more bitchy bits like this ["Wanna Be"] and the album could win over old fans with ease, but if Lip Lock isn't mean enough, well, neither is Eve. She's sweeter than before and musically more adventurous.

Argentinian punk rockers Los Enanitos Verdes close the album with a squalling "Traveling Band" that snarls, churns, and nearly goes off the rails. A couple of other selections are less inspiring, but the vast majority of Quiero Creedence makes for a truly fine and original tribute record.

On Believe, Disturbed takes the sort of jump that their heroes in Soundgarden and Pantera made after their respective breakthrough records.

An overdone, unamusingly ironic '80s fetish dominates the first half of the album, dragging down tracks like "Molecules" and "Different Kind of Love" with slick synths and affected singing.

Ultimately, it's hard to avoid that Auf Der Maur is living in the past, re-creating 1996 and acting like she's still 24.

The album works more as a selection of striking individual pieces than a coherent whole; there are moments of brilliance here, but they're inconsistent, and the album has more than its share of false endings that muddle the pacing.

Baby feels more like a leftover relic from the '90s than the game-changer the genre needs.

The songs generally sound as tuneful and well-crafted as her earlier work, but Stupid Love sounds curiously chicken-hearted when it reaches for its pop gestures, a shame since the songs where she pushes hardest in that direction are the ones that succeed the most.

Bittersweet World is the first time that she has made a record that lives up to her happily empty persona, something that's truly fun junk.

The Portrait Is Finished and I Have Failed to Capture Your Beauty blends influences from two generally antithetical musical subgenres--hippie psych-folk and '80s U.K. art pop--into a languid, low-key whole that's perfect for both lazy, cozy lie-ins and middle-of-the-night headphone listening.

Unfortunately, the final product often feels joyless and manic, and many listeners may give up before sitting through the entire beast.

For the most part, The Gift is indeed predictable in its sound--a continuation of the glassy, stately march of I Dreamed a Dream--and songs, relying on carols, not secular seasonal tunes.

On There Are Rules, the Get Up Kids never sound like they're trying to relearn how to do what they do: they manage the deceptively difficult trick of evolving without turning into something else, and they've made a powerful, engaging album that's worthy of their legacy.

For all its heart, though, Underwater Sunshine still lacks the unborrowed inspiration necessary to come out of the gates as a stand-alone record.

Wolf is as honest and, in a greater sense, as generous a songwriter as we have, and Mumps, Etc. may be his finest gift yet.

In some ways, The Connection is perhaps the band's most contemporary-sounding album, though it still remains reverent to the nu-metal sound of the late '90s when it comes down to the overall feel of each tune.

Fans that feasted on the band's seven previous outings and enjoyed the minerally aftertaste will likely rate Gravebloom a success, as it descends as deep or deeper into the abyss, but those with more curious palates should probably bring some snacks.

As her first official salvo into the pop arena, Speak Your Mind hints at an enticing amount of potential for Anne-Marie and her engaging vocals.