Wasif tries too hard to make lines interesting and profound, and they end up sounding awkward and a bit forced.

Sound the Alarm is ultimately just another good Saves the Day record.

Green's past albums have all been enjoyable affairs. This one, however, is a masterpiece.

Full of quietly vibrant moments.

The way that Mystics bounces back and forth between its ethereal and zany moments gives it a disjointed, uneven feel that makes the album a shade less satisfying than either Yoshimi or Soft Bulletin.

It's hard not to shake the suspicion that this album is the closest he's ever been to forgettable.

This is the third album in a row where she's thrown a curve ball, confounding expectations by delivering a record that's wilder, stronger, and better than the last.

Meds is as bare and honest as Placebo has ever been.

Vision Valley might be a little predictable, but at least the Vines sound like they're back in control of their lives and music again.

There's a great amount of flash and polish, all wrapped up in a tight package.

Fans of Badly Drawn Boy's Have You Fed the Fish? and Doves' Some Cities should understand Adventures in the Underground Journey to the Stars.

This is a very good album.

Those who missed these gems the first time around would be hard-pressed to find another dance disc in 2006 that rivals the level of quality found here.

A rich, exciting, and emotionally deep sounding album that carries on the freewheeling spirit and sound of the Unicorns as well as that of the Elephant 6 bands of the late '90s.

At this point it seems that Rainer Maria are much more modern rock than emo, but that doesn't mean that Catastrophe Keeps Us Together isn't a good album.

Demons is well worth checking out for those who like a sense of the unexpected in their pop.

Each song is snappy, playful, and stylish, and that's what makes Dancing with Daggers work so well.

The Loon is crafted like a true album; even if all the songs don't quite reach the level of its highlights, it all hangs together well.

Though obviously unconcerned with finding a place in the mainstream, this release just as cool and catchy as anything by Evanescence.

A true alternative potpourri -- quite refreshing in a day and age where more often than not, rock bands stick closely to a single style/approach.

Unfortunately, though, too much of Show Your Bones just isn't that interesting, even if it was born from genuine heartache instead of sass and attitude.

The scenarios he recounts are as detailed and off-the-wall as ever, elaborate screenplays laid out with a vocal style that's ceaselessly fluid and never abrasive.

T.I.'s fourth album isn't the leap forward he's been threatening to make, but it does carry the best set of productions he has been given to work with, and it guarantees that he won't be leaving the singles charts any time soon.

This New Day is an excellent companion to Out of Nothing, with only a slight drop-off in quality.

Alternative rock hasn't seen anything like this since the release of Turn on the Bright Lights. The catch: not only is The Back Room better, it holds promise for even better things in the future.

Not terribly different [from 'Human Conditions'], though certainly more pastoral and perhaps more middle of the road.

A stunning comeback that will alternately horrify, thrill, and satisfy fans of Television Personalities, as well as fans of honest, real, and truly independent indie rock.

Drum's Not Dead is undeniably interesting, but somehow unsatisfying.