Recorded their solo over a finished mix, which explains the presence of the late Jeff Healey and also how the guitarists don't necessarily seem fully integrated into the album. Nevertheless, that disconnect is ultimately a minor point because there's a gonzo energy to Bachman's originals.

Her Brit-pop soul treacle is still miles better than some of her contemporaries' top-tier offerings, and when the album connects it moves right in and starts to redecorate, but when it falters, it's akin to a chatty party guest failing to realize that everyone else has gone home.

While it'd be nice if the slower songs were as sticky as the speedier tunes, this nevertheless maintains a classy, well-manicured mood throughout.

Drenched in Auto-Tune and more frustrated than a ringtone rapper should be, Lil Durk turns in a surprisingly down effort with Remember My Name.

Summers and Weikel's talent and craft are all over The Helio Sequence, but this music is more than a bit short on inspiration, and the finished product sounds less like music they had a passion to create than something they were put up to--which is just what they tell us it is.

Generally the polished punch of Wood's work pushes Love Is the Great Rebellion into sunny positive pop, the kind of album that can double as motivation or pleasing background music for the office.

The most frustrating aspect of the record is that they are obviously trying hard to find their own sound and they almost get there.

Despite its unevenness, at its best Déjà-Vu is an entertaining return from a dance music legend looking to translate his style into something that isn't overly familiar.

Not one for the skeptical, but Carnegie Hall charms: give yourself over to it, and Adams wins you over, first through his act and then through his songs.

It's all a pleasing time warp without turbulence, one with songs built more to evoke the past than to last in one's memory.

Her earnestness is nearly as appealing as her prettiness, a quality apparent in both her voice and her surroundings.

Even if Dopamine shows the scars of labor, that in itself is impressive, and it also emphasizes how, nearly 20 years into his career, Stephan Jenkins prefers to indulge in his idiosyncrasies and not polish them for reasons related to pop.

Yuck may be bereft of any edges, but it's devilishly clever sophisti-pop disguised as big- box shopping center background music.

Feels Like gets high marks for craft but barely merits a passing grade for fresh thinking.

While the songs are sturdy enough to withstand such gentle rocking, this is a vibe record, the sound of an old pro playing not because it's necessary but because it's fun.

While Dancing at the Blue Lagoon brings Cayucas' shortcomings to the fore, more often than not it's more blandly pleasant than irritating, serving up a watered-down tropical drink of an album that just doesn't connect the way Bigfoot did.

This isn't among the most substantive Four Tet albums, but it does reward repeated casual listening.

While Currents would have made a decent Kevin Parker solo album, people coming to the album and expecting to hear the Tame Impala they are used to will most likely end up quite disappointed.

Established fans will likely welcome the new developments; it's not a shift in style so much as in attitude, and her relatable introspection is in full force, just at a different stage--still searching but looking toward the light.

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.

Young still doesn't do darkness as well as light but Mobile Orchestra shows a willingness to grow and change that makes it the most complete portrait of Owl City's music yet.

It is recognizably the album in its form but not quite in feel.

Buddy Guy serves up a straight-ahead platter with Born to Play Guitar, his 28th studio album.

A little fine-tuning here and a couple tweaks there and the follow-up might really be something special. Until then, Nap Eyes are solidly promising and that's a good start.

While it's admirable that he's trying new things and broadening his scope, Morning World still feels like an experiment or a transitional stage.

All Around Us stands as a puckish, blustery, peculiar creation recommended for a good pair of headphones.

Although nothing achieves the same height as "Try Me," the EP is promising at the least.

The highlights, unsurprisingly, occur when Allen is allowed to exert more of his power, heard in the darting/jabbing third and twisting sixth tracks. Those two tracks are worth the wait.