Consistency isn't Pants' strong point, and the latter half of the CD falters with a spattering of sparse instrumentals that feel more like skeletal after-thoughts than fully developed creations. At the grandest moments, Pants accomplishes his mission of re-creating the dance-happy fun funk of Chromeo and Cameo, and the cardboard-spinning electro boogie of Arabian Prince and Egyptian Lover.

Beyonce's third solo studio album is as concise as 2006's B'day, but it is divided into two discs as a way to emphasize the singer's distinct personalities. It's a gimmick, of course--a flimsy one.

It's ironic that 30 years later, a record like this could make psychedelia seem as curmudgeonly as rock & roll seemed then.

Most of the blame for Neighborhood Watch has to go to the previously invincible Alchemist, whose productions are front-loaded on the record. Unfortunately, his beats aren't rugged or hooky, just astonishingly weak.

The music isn't as serious: splashy and silly though it may be, at least it gets the basic sound right, even if it's way too polished and precise.

Following up the their well-received 2006 effort, "Nice and Nicely Done," Delaware indie rockers Spinto Band deliver more angular, rambunctiously creative pop on 2008's Moonwink.

David Gray doesn't really purport to be anything other than a contemporary folk-pop singer, and Foundling finds him doing what he does best.

The mood album implied by the title is really a mood EP waiting to be extracted, but approach it as a normal Kaskade effort with a bit more risk and a bit more richer music and the rewards will follow suit.

While it's not necessarily Dead Meadow's masterwork, it shows a band growing into its sound and mellowing nicely without sacrificing any of its radiance by exploring less extreme territories.

Given the dominance of slow material, the album is a bit stifling; Glover loosens up a little for only "In the Middle," co-written by Fantasia Barrino with a touch of "Ting-a-Ling," yet even that has some heartache.

In the right circumstances, the Bohicas seem perfectly capable of putting it all together, but overall, this debut could use a little more spark and a little less label-purchased leather jacket.

Cobbled together in the style of a compilation rather than a cohesive album, it's a wonky, slightly disappointing collection that provides diamonds and duds in equal measure.

At times, Rave Age feels like it's missing some of the spark of Vitalic's previous work, but Arbez manages to pull off a lot of changes on this album while retaining enough of his playful atmosphere and kinetic rhythms to keep fans engaged.

More than anything else, In Pieces is a strong showcase for Chlöe as a vocal dynamo, as much of the material is hollow, lacking distinction.

Yeat's creative drive is admirable, but unfortunately 2093 just doesn't live up to its lofty concept.

Only "Pot of Gold" falls short of being a winner because honestly, no one on earth can make sub-Starship '80s rock sound good. The rest is darn good though, and shows that Rado has more ideas than one band can hold, and also the skills to turn them into little nuggets of weirdo pop gold.

Even if it lives up to the bewilderment in its title now and then, Eyes Wide, Tongue Tied is the kind of playful, unpredictable set a band can make once it reaches its fourth album.

Shine On is a good album that avoids the sophomore slump, but has enough moments of rote rocking to make the next record a worrisome prospect.

He’s coasting here, no doubt about it, but no one can coast like he can

The album comes up short in the song department and doesn't quite get by on its abundance of free-love signifiers.

Everybody’s got to miss sometime, and on Haywire, Turner does by a mile, despite his no doubt good intentions in taking some of the slickness off the contemporary country sound.

Two albums in and Mumford & Sons still sound like a talented outfit fused to the starting block, paralyzed by the thought of having to truly race for their lives.

Banshee is a smart and impressive piece of work that speaks to the mind and the soul with similar clarity.

Though it may not be quite as consistent as Forget or Confess, Eclipse still reflects Twin Shadow's dedication to atmosphere and hooks in engaging ways.

Arguably, it fares better as a decent Frank Black album than an anticlimactic Pixies album, and fans who can appreciate that these songs don't diminish the legacy of the band's previous music will probably enjoy it the most.

In addition to proving once and for all that Hughes can stand on his own as a rock & roller, Honkey Kong meets the main requirement of all of the previous albums Hughes has appeared on. It's a rockin' good time.

Overall a tweaked follow-up that's likely to bring along existing fans, Trials & Truths is like a puffy chair with a window view; it doesn't demand attention but offers thoughtful escape.

This is an understated and promising first step from an unpredictable and distinctive talent.