Cee Lo Green's pre-"Fuck You" presence on the soundtrack to "The Twilight Saga: Eclipse" last year seemed to signal an expansion of the series' indie-dominated musical brand. That opening-up continues here with tunes by hipster-rap MC Theophilus London and Green's pal Bruno Mars.

Although his group has made its mark on the metalcore underground, Tuck spends most of the Welsh quartet's new album spewing venomous tirades at a variety of villains who have done him wrong. But he does it in a polished fashion that makes "Fever" the band's most commercial outing yet.

The bum-outs outnumber the bangers by a decisive ratio on Ludaversal, but that speaks to the rapper's comfort in straddling dissimilar topics.

The band hasn't lost its sense of wonder--it's just seeing the world through a more realistic lens.

Listening to Get Lucky feels like a journey, where great care has been taken to ensure that you'll come back a little better.

Fistful of Mercy's sound shouldn't surprise fans of any of those acts; nor, for that matter, should the appealingly casual quality of the nine songs on "As I Call You Down," which the musicians wrote in three days.

While "Hellbilly Deluxe 2" certainly captures the Saturday afternoon matinee spirit of his 1998 solo debut, it's also a different kind of creature.

Muse is one of the world's biggest rock bands, but for all its missionary zeal, Drones preaches to the converted.

Nightmare is the group's best work yet. It's a sweeping, quasi-thematic epic whose nearly 67 minutes mixes punky abandon with prog-rock ambition and muscle with musicality.

His 18th studio LP, 35 mph Town, bypasses the cliches and tones down his sometimes overbearing bravado.

Producer Greg Wells (Katy Perry, OneRepublic, Adele) dresses all that [emotional complexity and angst] up with greater sonic sophistication, guiding the All-American Rejects toward a more bombastic brand of pop.

At 36 minutes, the set is quick, generally uptempo and full of the Neptunes' mixtape-ready bangers, yet Williams finds his groove during moments that won't rattle any trunks.

The uptempo songs are entertaining, but it's the ballad performances that set this disc apart.

Catchy verses and get-your-hands-up chants are layered among '80s synth and keyboard lines on these 10 tracks.

Based on David Lynch's reputation, one can expect his first album to be either weird or cinematic. He delivers on both counts on Crazy Clown Time.

Nothing on The Wanted's debut U.S. EP comes close to "Glad You Came," but the extended play contains a number of fine-tuned melodies that could succeed the group's latest radio hit

Christmas in the Heart is an odd one-a collection of straight-ahead Christmas songs that benefits Feeding America, as well as food charities in other countries. But it will remind listeners that for nearly a decade Dylan has been working on his croon-exploring musical styles that are more polished than folk and blues.

The lack of woe-is-me melancholy on Mindy Smith's fourth release, Stupid Love, is what makes the heartrending album so intriguing.

The Gift, the second release from famed "Britain's Got Talent" contestant Susan Boyle, is a bit of a tweener: mostly a holiday album and partly a follow-up to last year's massively successful "I Dreamed a Dream."

Some of the music occasionally leans toward being overwrought, but mostly Love Lust Faith + Dreams--along with its Leto-directed visuals--invests itself fully and artfully in its own vision.

You can hear the result of all those showbiz connections in the radio-ready economy of high-sheen hook bombs.

The sense of abandonment hinted in the title of David Gray's second album in less than a year, Foundling, could be a reference to the work's minimalist nature.

The album is signature Kelly: fantasy-filled romps, club jams and heartfelt ballads brought to life by the singer's ear for catchy beats and melodies and mood-setting lyrics.

While Turner is a worthy heir to such barrel-chested baritones as Don Williams, Randy Travis and Trace Adkins, his fourth album, "Haywire," is a study in inconsistent use of his vocal gift.

"Babel" reveals a band happy to remain entirely Mumford - although a larger, smoother Mumford, offering fresh nuances and textures while emboldened by the promise of the initial mission.

It's true that Eclipse unveils itself less coyly than previous Twin Shadow albums, and sounds more brashly contemporary. But it hazards turning generic in the process.

Smith bares more than his vocal cords on this record. Every story of unrequited love that's been put to song is powerful in its own right.

Stone is clearly still finding her sound and, if Water is any indication, herself, too.