A good amount of Demolition screams quality.

FutureSex/LoveSounds isn't nearly as good as its slinky predecessor.

Appallingly not so good.

Fans of Travis and Coldplay will certainly find much to treasure in the soaring harmonies, soft strings and heartfelt sentiments.

Touch shows her being assertive and in charge.

Some of the posturing gets a little wearisome after a few rounds, but whatever, we like where the neighborhood's headed.

Often thrilling, sometimes just interesting.

Jet has more fun with songs like "Cold Hard B****" than most bands do during their entire careers.

[A] low-key album.

Basically disco with a new-wave spin, it's nothing you haven't heard before--in 1983.

Unfortunately, this straightforward approach also reveals how straight-up dull Mann's country-tinged songs can be.

While tracks like "So Sick" and "Stay" hit a few sweet neosoul spots, this perfectly pleasant disc is lacking that roundhouse kick that floors you.

Unfortunately, it lacks much of the spark and spunk that made the original disc so memorable.

Despite a few promising creative bursts ("Love," "Black Sweat"), it's another case of dashed expectations, as the disc dissolves into a bloodless puddle of smooth-jazz grooves and lyrics that wither at the hands of the singer's recent religious ideals.

Julian Casablancas continues to sing as if roused from a deep sleep, the rhythm section keeps the tunes as puckery tight as the band's trousers and guitarists Nick Valensi and Albert Hammond Jr. balance melodic strumming with some impressive shredding.

The end result is creative, inspired and, most important, individual.

What the Kids lack in pep this time they make up for with honest, homey performances.

The anthemic cries for getting your crap in order are flavored with dashes of sonic experimentation and the knowledge of when to slow things down.

The group sounds as wonderfully debauched, degenerate and dejected as ever.

A thoroughly dull collection of acoustic-based country-rock ballads you could hear at any local open-mike night.

Her lilting angelic voice and ethereal alternating waves of electronic and acoustic musical accompaniment make Nova's contemporary folk-pop tunes perfect for TV-styled teen angst and lessons in love.

It's too much.

There's little to dig here as the guys sound like a three-headed John Mayer or a trio of little Joe Jacksons.

Overflowing with sparkling riffs and rhythms punched up with the kind of self-deprecating, angst-lite lyrics the boys craft so well.

Weighed down with bland lyrics and blander arrangements, it meanders off into chick-rock clichés and lazy easy-listening melodies.

[Gray has] stepped up his own game with richer production, bigger arrangements and a renewed sense of purpose that makes songs like "Alibi" and "Disappearing World" sound like his most epic work yet.

Lovebox brings together [their] disparate elements in a convenient package, highlighting the knob-twiddlers' many talents.

Even if it is twice as long as it needs to be (thus, a couple of dead spots), we're not arguing. We're just enjoying the music.