The band's writing stagnates, rendering the majority of the album in a rote midtempo formula that Stipe's increasingly trite lyrics can't always save.

Party Intellectuals contains enough noise and/or dead space to ruin the flow of many an iPod shuffle, but experimental jazz or avant-garde fans should find enough here to sink their teeth into.

Linkin Park's ambitions are nearly palpable, but songs likely conceived as homages end up sounding too close to their sources. [26 May 2007]

Unfortunately, for all the hype surrounding "Restless," Xzibit has lost some of the lyrical ferociousness that made his previous releases underground favorites.

There's an odd allegiance to the overblown prog-rock theatrics of Rush... and Yes... that seems incongruous alongside earnest Beatles homages... and straight-up, gloom-rock confessionals.

All the elements for a smart, catchy dance-rock album seem to be in place, but the final product still remains slightly unstructured and rehashed.

While Dulli's bitter, drunken voice remains front and center, the backup vocals and orchestras nearly make the songs sound like a parody, marrying a beast to a beauty.

What this channel lacks is true feeling and originality.

Songs such as the Rodney Jerkins-produced "Make It Last Forever" and "Get Up"... are surefire club hits, although such ballads as "It's Over" tend to fall flat. [9 Dec 2006]

The deafening dialectics often feel contrived, making Test Icicles sound like a fun "project," not a real band. [28 Jan 2006]

Many of Angel's midtempo tracks, while well-intentioned, fail to reach the lofty heights to which they aspire.

The band seems oddly restrained and processed through much of the album's 12 numbers.

The album doesn't really push the creative envelope and relies too heavily on guests at the expense of the principal artist. [15 Apr 2006]

Nostradamus isn't likely to surprise you--this is softcore for the hardcore.

This album is calm and relaxing almost to a fault. [26 Nov 2005]

"Revolverlution" may be little more than a curious career capper, but at least the never risk-averse Public Enemy seems to understand that even failure can be your friend if it ultimately helps you move forward and stay fresh.

Now in his 30s, he doesn't surf the beat so much as box with it, with both brutality and no small degree of grace. That a rapper of this much verbal gymnastic ability is still making Perez Hilton cracks is too bad, but the bigger problem is that Eminem's recipe of gore and gay jokes sounds like the past.

Aside from a few unique moments ("The Return," "Take Me Away"), there's not much new to report here.

Film-specific songs like "Make No Sense at All" and "Call the Law" fall flat out of context.

Though the album grows stronger as it lurches on, the trio's pursuit of bombast leaves the killer melodies lost in outer space.

Once again, the results feel too spotty.

[An] uneven set.

"Born" loses its focus amid unabashed nods to Burt Bacharach and songs that are just not done yet, despite smart tempo changes and pretty melodies.

Primarily lackluster.

Though a floundering economy, bombed-out GOP and a season or two of corporate bailouts have provided them with a fat barrel of fish to shoot, this rap-rock hybrid simmers instead of seethes, never quite mustering the blood-boiling rage of its principals' previous material.

"Per Second..." finds Wheat in the midst of an identity crisis, attempting to balance largely superb songs with an exasperating presentation.

Sometimes it's good bizarre. Other times it's bad bizarre.

Missteps more than it hits.