While Nielson would be well-served by sticking with the colorful mess of sound the band seemingly effortlessly creates, he could go the melancholy troubadour route and make that work too. Blue Record is certainly proof of that.

He's Got... may alienate even some of Kinsella's more patient and open-eared fans, as it sometimes wanders into a slow ramble over repetitive dissonance. At the same time, its impulsive quality may be irresistible to a punkier sensibility, offering catharsis in its deliberate lack of polish and self-censorship. If it's possible to be refreshing and somewhat tedious at once, this album nails it.

As it stands now, the album is an overlong, undercooked, and cliched listen that will no doubt appeal to the Drake fans who can't get enough of him, but will leave anyone looking for something new sadly out of luck.

Dumb Luck isn't quite as cohesive as Dntel's debut was, but it is beautiful and carefully crafted enough to show that none of Tamborello's successes are flukes.

Rather than subverting culture, the band goes one step further, subverting the expectations of listeners by performing the songs without irony. Most surprising, however, is how well these songs work with Bad Religion's driving and melodic style and Greg Graffin's distinctive voice.

It's an excellent way for Jenkinson to branch out and try something different--his playing and programming is definitely up to his high standard--but aside from the sweet retro vibes, it's hardly a classic.

Especially after the staid Junk, the deliberate liveliness of Listen is indeed welcome, and sometimes, the results come close to infectious.

More often than not, though, Flashy is lots of cleverly dumb fun.

Keeping such a schizophrenic affair entertaining and connected is a feat in itself, and Spank Rock's second album shows that, despite long odds, Juwan can succeed on his own terms.

With their second album Vapor Transmission, they return to deliver another set of electronic-laden rockers, but this time out they do so with slicker production and improved songwriting.

As before, Ginuwine rises above most of his dozens of imitators in the contemporary R&B realm, with a set of productions -- from the returning Troy Oliver -- that fit his voice perfectly and rate as slightly edgier than the norm.

There are times when One Plus One Is One is simply too much, and the fresh spin that Gough brought to the British singer/songwriter tradition in his earlier work is missed, but he's still a fine addition to it.

The Offspring's most musically mature collection to date. The arrangements are tight and don't bore, which is sometimes the case with albums that feature similar-sounding songs.

This is suburban middle-aged music dressed up as something younger, something more exotic, something far more street-wise and interesting than it actually is.

It's a startling, challenging, and significantly enjoyable debut album.

There's something gelling on Dirty Glow that almost matches the album title itself, but it's just not quite there yet.

While the acoustic renditions of the songs certainly have a more pastoral and contemplative feeling about them, Yellowcard still manage to keep the energy that made the album so vital when it was released in 2003.

It gives old-schoolers a reason to dust off their jungle hoodies and drum'n'bass shoes, while the 2013 set get a bottom-heavy, funky, and passionate alternative to the current crop of bright EDM and light indie electronica.

The craft Zoot Woman bring to Star Climbing'a best moments continues to set them apart from the ever-growing number of similarly minded acts.

Ultimately, with Young as the Morning Old as the Sea, Passenger has crafted an album that, not unlike the oceans, fields, roads, and relationships that inspired it, remains with you, calling you to return.

Covered in a shiny electronic gloss, the album flits between slow-burners and mellow pop.

Always in Between might lack the momentum that helped Glynne's debut propel her to the top of the charts, but it offers enough highlights for a fun listen.

There's a slight de-emphasis on his lyrical genius, but that's fine. It's clear that Ronnie Wood & His Wild Five love playing this music and that palpable joy makes Mad Lad a fine time.

Quavo Huncho is enjoyable but unmemorable. It's not quite a Migos album, but it comes close enough to tide fans over until album number four.

It doesn't stay still, it peaks and ebbs, flowing steadily between brooding and explosions of repressed rage, a fitting soundtrack for aging rap-rockers who are comfortable in their skin but restless at heart.

Not all Glee members are created equal--Cory Monteith (the show's hunky football captain) and Dianna Agron (the alternately caustic and vulnerable head cheerleader) can't sing nearly as well as their co-stars--but this soundtrack has enough star power to keep things trucking along, especially when powerhouse alto Lea Michele takes the wheel.

It's far from revolutionary and it's certainly not deep, but as often as not, Entertainment at least manages to live up to its title.

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.