Complain that they're stuck in a rut or praise that they're still able to do it convincingly, because this album gives up evidence to support either argument.

As someone whose success has come mostly as a singles artist, Jay Sean fails to deliver anything quite as charismatic as any of his greatest hits on Neon, leaving the album feeling largely flat.

This is essentially a greatest hits that offers no real surprise in either songs or arrangements (the exception being "It's Only Rock N Roll," which now sounds more Chuck Berry than ever), but that doesn't mean Hyde Park Live isn't satisfying.

While by no means bad, is definitely more of a missing link for die-hard fans to get a taste of what's to come.

Even though Kissaway Trail aren't exactly breaking any new ground here, Breach is executed with enough beauty and feeling that the lack of innovation is pretty easy to forgive.

Maturity suits the group, and "Pink Wonton," "Sparks," "Paul's Grotesque," and "Head On" have all the makings of breakout singles with their fun, memorable choruses and subtle yet clever musicianship.

Put Summer Camp in the category of bands that are too good to ignore, but too uneven to truly embrace. Summer Camp is frustrating proof of that sad fact.

That her instincts are often right speaks to her skills; that she veers into accidental condescension suggests this country move may be motivated by finding a new audience, not satisfying her existing one.

Despite some missteps, like an attempt at rapping on "Bitter Bug" or a slight lapse into new age on "Symmetry," there are a handful of songs that redeem the ambling nature of the album.

There is much that is admirable about The Diving Board--the feel is spacious and haunting, the ambition is commendable--but the emphasis on tone over song means it leaves only wistful wisps of melancholia behind with the actual songs seeming like faded, distant memories.

While there's nothing wrong with the piecemeal construction of the record, 14 years is a long time to wait for an album that sets blandness and brilliance beside each other in an almost equal ratio. When Defend Yourself hits its stride, however, it's amazing how timeless and unique the classic Sebadoh sound really is.

In the end, it's an admirable and interesting effort where the highs offset the lows, but those with molly in hand and dancing shoes on feet should just cool their jets and get ready to sit a spell.

Outsides is yet another strange installment in Frusciante's unabashedly weird and sometimes uncomfortably naked evolution as a solo artist.

There are too many shifts in mood here from track to track--but it is without question a worthwhile record, as its best moments are strong, substantive reinterpretations that illustrate just how good a songwriter Peter Gabriel is.

Now, Then & Forever demonstrates the lasting value of the band's classic sound.

Pure Heroine seems to hint at the truth... but the truth is, Lorde is a pop invention as much as LDR and is not nearly as honest about her intentions.

Carve out the ultimate party EP, or consider the highlights too high to miss, because this is Dizzee at his breeziest and is best taken in little bits.

This offers another slight change from Willner's past--enough to maintain perked attention from listeners in love with his sound, while those who are less enamored won't hear enough that distinguishes it from any other Field album.

As appealing as the lived-in, swampy jams are, there's a laziness that drifts throughout Hoodoo, apparent in the sauntering rhythms and Tony Joe's mush-mouthed vocals.

While rap-rock is a sound that's prone to disaster, the band has the confidence to make it work, finding just the right blend of angst and swagger to pull the whole thing off.

The album is split down the middle with the first half made up of shimmering, supercharged dance tracks that have disco and house influences and seem destined to fire up clubgoers with their soaring choruses.... [The final four] songs aren't as successful, thanks to the somewhat syrupy melodies and clichéd lyrics, but also because Cher's vocals sound a little worn and frayed around the edges.

The band fares best on songs like "Narcissist," which, like the Vines' grunge love letters, are pretty fun even if they aren't shockingly original.

Rather than nervy and isolated, this re-formed version of the band feels like they've got things more sorted out, replacing the uncertainty that marked albums like Emergency & I with a more carefree vibe. The change is one that makes sense, though.

While those already enamored with McCombs' lyrical approach and subdued songwriting might find more of immediate value here than the uninitiated, there's a lot to sift through, even for fans, and it might be difficult to keep focus through the entire sometimes befuddling set.

Tindersticks see this anniversary celebration as a reflection of who they are as a band now, rather than merely as a reflection of their past.

Prism [is] a tighter, cleaner record than its predecessors--there are no extremes here, nothing that pushes the boundaries of either good taste or tackiness.

Neither as intricate nor as emotionally varied as releases from inspirations and contemporaries like Gold Panda, Quarters is short on obvious standouts and distinctive qualities, but it is steady, conducive to beginning-to-end listening.

It's too bad the EP is saddled with a couple duds, because when it clicks and the music, words, and playing all get it right, one is reminded of the energy and fun that made the band worth checking out in the beginning.