Super Extra Gravity matches their previous record, Long Gone Before Daylight, for its dour mood and sour attitude, its lack of discernible hooks, and the unappetizing flavor of the Cardigans' performances.

A display of complacency and retreads.

Throbbing Gristle... no longer sound frightening, disturbing, or, for the most part, even interesting?

There's an air of sloppy experimentation, of demos and B-sides and other things that probably won't interest more than the heartiest fan.

[It] would be more accurately titled Timbaland Presents Slight Confusion or Timbaland Presents an Uneven Mess.

The Bravery are an easy target -- after all, they were often seen as also-rans even when their kind of music was the hot new thing -- but, unfortunately, The Sun and the Moon's hesitant, unfocused feel doesn't do much to dissuade that notion.

There are a couple of standouts here--'Like It or Not' could be a cross between 'It'5!' and the Cure's bizarrely cheerful moments, while 'Nothing's Wrong' shows what the rest of the album should've sounded like--but most of Places Like This is a mystifying misfire.

An uneven sophomore album.

Asleep at Heaven's Gate isn't a bad record, it's an unnecessary one and there's really no excuse for that.

These songs all feel like a score, and that's not necessarily a good thing. They all seem to be of a piece, but musically there isn't enough imagination to distinguish them, to set the tension of dynamic in motion.

There are interesting moments here, but they're fleeting, crying out for a bit of the deliberate craft of Blondie's comeback albums, which may be predictable but at least they're focused, which makes for easier listening than this long 17-track slog of sound.

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.

ADD is certainly one of the more interesting AmIdol-related records, but so much commotion without construction is ultimately as forgettable as Jordin's pageant-winner trifle, and perhaps a little more tiring to get through, too.

The moments of rocked-out swagger are fleeting and ultimately drowned out by a musical and lyrical heaviness that turns the album into a real downer.

There are still some moments that show what Doughty is capable of, where he holds back on the production and instrumentation and lets his acoustic guitar chords and voice take over, like in the darker 'I Got the Drop on You,' which references his Soul Coughing days while still coming across as an original, but this is a rarity among the slick and silly tracks that make up the rest of Golden Delicious.

It is hard not to listen to Kula Shaker and their banal, blissfully insulated retro-rock and not be a little amazed that a band can get so many right elements so wrong.

Here, he doesn't offer much more than a couple worthy singles and a handful of decent album cuts, and those highlights, such as the Timbaland-produced (and hogged) "Elevator," tend to be memorable more for the beats and the hooks than the rhymes.

It's meant to be taken as surface, perhaps skimmed for samples, but generally to be used as mildly unsettling mood music--a specialty of Reznor's, to be sure, but he's better and scarier when his ideas are more finely honed than they are here.

Everywhere at Once is reminiscent of what's already been done, either by the rapper himself or by another artist, almost derivative of itself, and as a whole, altogether disappointing.

While this is a forward-thinking and cerebral affair, as Yoav has a love of dance music, he often works with funky grooves and rhyming lyrics that should appeal to fans with a club-oriented aesthetic.

Red is at its best when it mines the new wave/Europop of Level 42 and Ultravox, especially on the infectious 'Clarion,' but those moments are few and far between.

If you still hold Lanois' earlier recordings to a high ideal, this may indeed frustrate you because it offers considerably more evidence that Lanois has lost his way as a musician.

Gavin DeGraw won't change things, either, as it pretty much offers more of the same as "Chariot," polishing up the sound, turning it into something bigger and slicker, but not changing his vaguely rootsy, vaguely soulful pop a whit.

Anywhere I Lay My Head doesn't quite work, but it can't quite be dismissed, either.

A couple tracks and a few stray lines aside, these verses could have been dashed off by the MC at just about any earlier point in her career.

In-fashion vocal effects, which Summer certainly does not need, detract from a handful of these tracks, but as a whole, the album won't have trouble pleasing fans who just want to hear their queen have a blast and tear it up.

They're a singles band at heart, though, and they wear out their welcome all too quickly on We Started Nothing.

That's the ultimate irony of 3 Doors Down as they mature: try as they may to pour out their angst-ridden hearts, by riding out their success and smoothing out their music they've turned into mildly aggro background music at malls and movie theaters across the nation.