"Shut Up I Am Dreaming" is a grower, and doesn't grab you by the ears like Wolf Parade's debut did.

A respectable effort.

The new set goes just far enough beyond the call of duty to warrant repeat listens.

"The Mix-Up" is thematically sound and feels like a comprehensive piece instead of a self-indulgent scheme. [30 Jun 2007]

While superbly recorded and at times a hoot to crank (largely for the shameless rips of Kiss, Joan Jett and Def Leppard), Bitchin' is too light on hooks.

Mobb Deep often sounds like a guest at its own party.

There are potent moments like the rise-and-fall ballad 'Kristy, Are You Doing Okay?' and the fierce 'Nothingtown,' but 'Rise and Fall, Rage and Grace' sounds more like a tentative step in the Offspring's new direction.

"Machine" is ultimately flawed when the Kahuna boys abandon uptempo techno for atypically hymnal pastures.

Much of "Drukqs" sounds like two different albums competing and thus canceling each other out.... An ambitious but ultimately failed experiment.

If parts of "Shock City" shudder under the weight of seeming too cool for school, much credit is due Beans for being one of the producer/MCs desperate to stretch out the rubbery boundaries of the genre.

The Americana is first-class, be it on crunchy, boozy romps with stinging solos or the slow-burning acoustic fare, but this batch of tunes proves far less memorable.

[It] works best when he's rapping alongside guests.

Often falters distressingly.

On the synthy, Darkchild-produced 'So Over You,' Ashanti croons about getting past a former relationship, while the Jermaine Dupri-mixed 'Good Good,' featuring elements of Michael Jackson's 'The Girl Is Mine,' finds her confidently belting about her abilities to please in bed.

The band's first new set since 2002 is full of these well-intentioned attempts to recapture some of that '80s pyromania (or in the case of the absurdly large power ballad 'Love,' herculean '70s prog-rock balladry), but without producer Robert "Mutt" Lange, who left for the much more profitable world of country years ago, the results are solid if unspectacular.

Sadly, the album is reminiscent of everything he has already done.

A disjointed affair on first listen, "Security Screening" eventually reveals itself as the mirror image of main man Scott Herren's multiple musical personalities. [11 Feb 2006]

When the World Comes Down doesn't evince much growth, proffering more of the same hooky pop/rock centered around adolescent love and heartache.

One wishes they would spend a little more time plowing through the album while kicking amps and knocking over mic stands rather than changing things up.

"Me First" is an easy listen, but Sennett is not nearly as captivating a leader as Rilo Kiley's Jenny Lewis, and the coming-of-age tunes aren't always strong enough to account for the album's lack of tempo change.

At 22 tracks, "Damita Jo" has its fair share of hits and misses.

Unfortunately, he's traded some of his cutting-edge British mergings (R&B, hip-hop, two-step, rock) for a more crossover-friendly (read: formulaic) approach that doesn't fire on all cylinders.

For most of "Saturday Night Wrist," Deftones contentedly let their instruments wander, inventing a meandering soundscape that broods in near darkness. [4 Nov 2006]

If Hawthorne Heights stopped trying to please several different audiences and decided whether it wanted to be a pop band or a post-hardcore group, it could make a more definitive musical statement. [4 Mar 2006]

Although he seems to have rediscovered his panache, the music supporting his narratives is still lacking the originality of his best work.

From the ugly album art to the stupid title to the strange, messy songs, it's hard to tell if the band is growing up or just goofing off.

Their technically adventurous playing occasionally gathers some spooky steam, but this is definitely a fans-only affair.

Even though "Doctor's Advocate" has its failings, it's a prescription that comes recommended. [18 Nov 2006]

The Memphis five-piece sometimes lacks a definitive sound... Yet the band excels at its straightforward, meat-and-potatoes sound.

The project just doesn't offer as many gems as "King," which pushed T.I. to new commercial heights.

While the overlong album sometimes threatens to bury C&C with its own excess, the craftsmanship suggests the band is more than capable of breaking into the mainstream. [24 Sep 2005]

"Play" is light-years more enterprising than Diddy's sample-happy history might suggest.

Too much here sounds like Coldplay-by-numbers, and the lyrics lack the deeper meaning the album seems desperate to provide.

100th Window meanders along, emotion-less and soul-less—albeit with haunting Middle Eastern flourishes.

The album is hampered by needless skits and, at times, too slick production.

That overstuffed guest list doesn't necessarily work to the exclusive benefit of The Spirit of Apollo, as sometimes the clutter makes it hard to hear precisely what kind of music Zegon and Spiegel are trying to make here.

Those looking for "Marquee Moon"-style guitar heroics will be disappointed.

If Tangiers perfects its poppier maneuvers and smartens up a bit lyrically, something special could be down the road. [10 Dec 2005]

Much of the material on the quirky "Show Your Bones" is more intimate and, at times, tentative. [1 Apr 2006]

Lerche seems headed in a promising musical direction, but not all the songs here pack the expected punch. [10 Feb 2007]

Focusing more on catchy hooks and Fergie-style chants than lyrics helps disguise her vocal limitations. [9 Jun 2007]

To be sure, the quiet side is the more powerful.

Mostly, this is by-the-numbers stuff.

The entire record is a disquieting trip.

Touching Down is a fluid set that moves from track to track with little or no delineation. As a result, the album is, at times, redundant.

'Social Development Dance' is an accurate representative of Back and Fourth as a whole--an introspective, guitar-driven effort that's worthy of praise, despite some minor missteps.

Another satisfying collection of quick, riff-happy new wave/punk rock that, while no match for its first album, was nonetheless worth the wait.

A mixed bag of pure-pop lyricism and throwaway covers.

As was the case with John Legend, who beamed into the club on his latest, the initial effect is jarring, even in its star's capable hands. But it also settles in nicely.

For every piece that sounds like aimless noodling, there are keepers like the strutting "Wheel Broke," the guitar-only "Mountain," the Tortoise-style "Balcony" and the absolutely gorgeous "Eighty Eights."

For the most part, the producers simply add audio garnishing to Korn's signature sound via loops and Pro Tools trickery. [10 Dec 2005]

"Life in Cartoon Motion" is like Scissor Sisters-lite: Retro disco with heavy doses of rollicking piano and funk. [31 Mar 2007]

There's an overriding sense of preciousness that permeates "Mr. A-Z," and a few instances ("O. Lover," "The Forecast") where his homages to '70s AM radio sneak over into copies.

Cease falters when it dips into mediocre balladry ('Detlef Schrempf,' 'Marry Song'), and at a scant 35 minutes, the album at times hints at greatness but ultimately leaves you wanting more.

Although "Parachutes" brings nothing new to the table, Coldplay seems talented enough to transcend this early identity crisis.

There are a few instances where the songs manage to make the listener forget about the court appearances and remember Doherty's uniquely skewered way around a guitar line and lyric.

Although it doesn't always work as a whole, this adventurous collection echoes Jones' catalog thematically and musically...

In each case, a brand-new track has been crafted, but some work better than others. [10 Feb 2007]

While it's commendable for the trio to try to break out of its teen dream box, it's on songs like 'Before the Storm'--featuring Miley Cyrus--where the brothers prove they're still among the best at putting the fizz in pop culture.

Unfortunately, instead of eliciting the same response as its predecessor, ["Girl Tonite"] comes as a feeble attempt to copy success. Luckily, there are enough highlights to balance things out. [8 Oct 2005]

It doesn't all hit home, but at its best ("Heaven/ Where True Love Goes," "In the End," "Green Fields, Golden Sands"), this record is uplifting enough to satisfy even a 30-year thirst. [18 Nov 2006]

Overall, Sugar Ray sticks to what it does best: helping audiences realize that there's no better alternative to a California fun-in-the sun day at the beach.

As projects of this nature go, this is a remarkably cohesive, high-quality set. For the most part, the material is appealing, if not terribly memorable.

Dennen's tenuous vocals (and lyrics) are better suited to silly love songs than this sort of material, and though producer John Alagia knows how to make the guitars jingle and jangle and how to work up a soft, swimmy groove, Dennen needs a little more to rise out of the ever-growing multitude of sensitive guitar dudes.

A mostly solid collection of quirky dance pop and cryptic rock.

There is an easy-listening elegance to his songs, but the album plays out like a soundtrack to sipping coffee. [28 Jan 2006]

Halfway between a fraternity kegger and a housewarming party.

More hit than miss. [30 Jun 2007]

It's a pleasant enough, if uneven work. [14 Apr 2007]

Leans more toward conscious than commercial. [26 Nov 2005]

Overall, listeners will struggle to classify "Rubies," as much for Bejar's blurring of bluesy folk, pop and lo-fi indie rock as his unconventional delivery.

By abandoning the gloom and doom and embracing quirky power-pop, the Stills seem to have morphed into a less minimalist Spoon, and your replay mileage may vary based on how strongly you liked what they were doing before.

Snoop has found a happy balance between pop and hardcore. [25 Nov 2006]

There's nothing really spectacular about any track, although in a strange way the entire album does have the ability to grow on you.

Where the Faint falls short, though, is its lack of daring; even with the welcome addition of strings (apropos of its cinematic live show) and varying styles, "Wet From Birth" sounds contained and merely likeable.

There are moments when you wish for just a tiny bit of dirt, or just a little bit of edge.

As uneven as the film itself.

This record isn't for casual listening, so those checking out the Mars Volta for the first time should take it slow to prevent a sonic hangover.

The rest of Identified, though, panders to the preteen demo with stop-start pop that ranges from pleasant (the title track) to dull ("Amazed") to off-putting ("Hook It Up"). But for little girls, this is one nonstop singalong.

An album that would have been great in 1983; now, it is more of a nostalgic lark.

Fans of Wilco will certainly oblige Kotche's singular visions; fans of "Being There," maybe not so much.

With a few notable exceptions... inspiration is just what this album lacks.

Although the arrangements remain impressive, there are moments when it feels as though Dungen should stick with a quicker pace. [26 May 2007]

A fairly paint-by-numbers affair.

More often than not, even Shadow's most extreme sonic detours hit home.

It is simply miserable, heavy, repetitive and cathartic. [18 Nov 2006]

The group's live shows are the stuff of legend--perhaps that's why the act's debut album, #1, seems a bit disappointing without the corresponding over-the-top visuals.

The seemingly ageless Australian rock combo mostly employs its same tried-and-true formula on the audio side of the Black Ice equation.

No matter how hooky things get, the Warlocks tend to bury each song in the same multi-layered haze of feedback and distortion, as if sheer decibels are the sole element holding everything together.

Well-produced, albeit predictable.

The set as a whole lacks variety and rarely shifts tempo. [24 Feb 2007]

There is a little too much tra-la-la-ing, but it's a pleasure to hear a new band having so much infectious fun. [24 Mar 2007]

Nonsensical lyrics about butterflies and name-changing lovers on tracks like 'You Go On Ahead (Trumpet Trumpet II)' and 'Apollo And The Buffalo And Anna Anna Anna Oh!,' could serve as a distraction, but the songs are saved by beautifully frantic instrumentals.

More often than not, Oldham's signature vocalizing keeps Tortoise from falling back on old sonic tricks. [21 Jan 2006]

[It] flashes with moments of greatness. [9 Dec 2006]

The melodies aren't always there, and the restrained production makes for an occasionally nagging sense of meandering. [3 Mar 2007]

With expectations tempered for Forgiven, the sibling trio from Texas doesn't panic but rather retrenches, returning to the easy-grooving, harmony-laden Carlos Santana-meets-Stevie Ray Vaughan feel of its first album.

While the production is good, the divergent styles and lack of cohesion add up to a somewhat schizophrenic offering.