This time, however, the subject matter is more mundane, and Jackson's flattened vocals are paired with less imaginative post-punk guitars and synths.

Blackout is her fifth and most hilarious record, thanks largely to the contrast between the often-brilliant musical production and Spears' steadfast insistence on taking herself seriously and expecting you will, too on songs called 'Get Naked (I Got a Plan),' 'Freakshow' and 'Why Should I Be Sad?'

Lewis has tons of charisma--but it's a shame the shift in focus coincides with an album so superficial that her characters' hollow-eyed come-ons seem genuine by comparison.

The band sounds crisper and cleaner than it should.

Harry remains a creative force, and it's clear she needs to continue making music, but her new songs lack the cohesive spark needed to make anyone but diehard fans take notice.

The title of the Smashing Pumpkins' new album seems like wishful thinking. So does the music, for that matter

A muddled mess of convoluted textures that is at times, frankly, unlistenable.

When juxtaposed with the album's bubble-gum bounce, the creepy parts just seem creepier.

Even Banks' better-than-average skills can't save "Rotten Apple" from mediocrity.

Only one or two of these 15 songs (there are also five skits on the 20-track album) features the dazzling wordplay and unparalleled lyrical flow that made Marshall Mathers one of the biggest names in rap.

The bloody, boastful rhymes are mostly DOA, victims of songs that value attitude over arrangement.

It's more of the same on his second album, a collection so bland, it makes hardtack seem sumptuous.

It's a bland album that rarely shifts tempo and shows almost none of the personality Jackson used to have.

The handful of [balalds] isn't enough, though, and vapid lyrics and cluttered beats on the rest of "The Sweet Escape" makes for musical heavy lifting.

The laughs are in short supply on "Release Therapy."