Violet Cries, one of the more anticipated debut albums of the year, isn't a let down, but it's a difficult album to get a grasp on.

While The Mendoza Line's lyrics may be full of light and full of fire, the music here is not.

With a few shining moments, the band seems like they've given up. Rather than pine over an album full of memorable hits, Damnesia falls short in many ways.

Overall, there is sufficient sun-kissed pleasure on Varshons to extend the patience of Evan Dando-devotees a little bit longer but not enough to surpass past makeover masterstrokes.

Their sound and influences seem to jump out all over the place, but regardless, it is entertaining.

The band hasn’t yet proven capable of rendering a thoroughly remarkable album. This is nothing to be ashamed of, though.

Overall, what could have been yet another cash-cow milker actually turns out to be a curious and compelling piece of therapy for Frank Black as a writer and performer.

A solid yet underachieving return.

Revival is a good album, and I don’t intend to imply that some of the slower tunes or more laid-back lyrics are simple throwaways, it’s just that this is definitely a change of direction for a band that has followed a relatively clear path for such a long time.

It lacks the consistency and unique feel that the original had in abundance, and lacks the quality hooks that defined his debut.

Aside from its title track, most of Kings and Queens of the Underground sounds a lot like primetime 80s Idol, untouched by the ravages of time, lifestyle, changes in musical fashions or anything else.

A collection that’s muddled but peppered with gems.

Some of Log 22 feels like a step too far, with the band's ambitious arrangements falling foul to the limitations of their musical abilities.

It worries me that cheesy metal riffs have made their way onto a Converge record, making it sound like it might be accepted on tour with Mastodon. It’s not a matter of breaking apart but experimentation that might not always go right.

Guster finally feels like a full band and not some cutesy sideshow act.

7th Symphony feels like an album that's 60% true artistic vision and 40% simply borrowed from the mainstream to fill out the track listing. If Apocalyptica can craft songwriting that's unique, mature and deep, they should include it on the next album. If not, they should just stick to the instrumentals.

Bee Hives is a mostly instrumental album that heavily favors the fuzzy keyboard tones and heavy reverb of the band’s early work.

As half of the fun of an album is trying to figure out what the artist is trying to do creatively, having the artist essentially tell you what they're going to do and then watching them do it, is somewhat less interesting.

[Its] strongest songs more than compensate for the few lapses in songwriting found elsewhere.

The problem is, Parton seems hesitant to just go ahead and continue to make the kinds of albums that will attract hardcore folk and roots enthusiasts, instead tempering her material with apparent attempts to hold appeal to a wider audience. So, at best, the final results are a bit mixed.

Jesse Sykes and company have fashioned an alternative country-rock album that is both decent and reflective.

Our Blood doesn't leave me wanting more, it doesn't leave me drooling over another listen, and it sure doesn't leave me interested in more of Richard Buckner's work. But on the same measure, it doesn't leave me sick or angry.

A simple exercise in bright, energetic--if somewhat vapid--pop music.

As a release for anyone else, this would be a well received and respected release. But for Ben Folds, whose first two solo outings were both phenomenal, he simply hasn’t lived up to expectations.

All in all, this is pretty good album and it is by no means horrible.

Kaputt is filled with light, sprightly textures, all pleasant and groovy, but the album still seems to lumber along with breezy but basic sequencer rhythms, indistinct melodies, and sax blowing similarly all the way through.

In the end, this is better left to die-hard Yo La fans and jealous bassists everywhere.

A solid collection of delicate songs.