Tomorrow's World isn't a bad album but it's not a complete "return to form" either.

Over the course of this slightly bloated track listing there is too much focus on the soft rock element of her sound and this which works to the detriment of her fascinating lyrics and bewitching theatrics.

Most significant is how amazingly catchy the album is. Sure, it might be a bit vacuous lyrically, but Dent May sure can write hooks.

The Other Side of Zero shifts from side to side with some regularity, ranging from bubbly and invigorating to downbeat and expressive. There's a real sense of diversity here, and it's what sets the album apart.

The downside is that both members of Team Beamwell are retreading well-worn paths that lead to nostalgic, rather than newfound, destinations.

The music saves this album from certain disaster--an idea that, at its root is perplexing at best, is executed in an even more clumsy and confusing way.

This new one is definitely worth checking out, or maybe even seeking out, if you dig the whole African guitar Indie rock thing. If you don’t, you may still be pleasantly surprised.

Bricolage is as a sometimes fun but mostly ambitionless and unnecessary project.

With their infectious beats and clear guitars mixed with head-bobbing electronic, New Young Pony Club has what cannot be learned, yet what is one hundred percent necessary for achieving greatness: hubris.

There’s an unshakeable feeling that they’re going through the motions a bit too frequently and that this represents a step backwards for a once fresh and exciting band. Unfortunately, it seems the curse of the third album may have struck again.

It may not be the most unique and memorable of albums, but there's a lot in Boys and Diamonds to like; great thumping melodies, intriguingly mad vocals and moments of beauty (particularly the delicate drumming that closes the album) and shows that Rainbow Arabia are a band that have the potential to be far more interesting than their mundane origins would suggest.

On Ghost Stories, despite a near derailment, they "fly on," moving in fresh directions while keep the catharsis that gave them their audience in the first place.

Unfortunately, they didn’t miss by biting off more than they could chew; it’s more a sense of complacency you get form listening to Walk It Off.

Victorious is premium Wolfmother in places, and pretty much abominable in others.

Despite a fairly catastrophic mid-album dip in quality, there are enough of the big soaring numbers, and a smattering of new ideas to see him through. So it's just like most other Moby albums really.

Overall, its their most accessible, one whose highs are much more pronounced than its lows.

We get a record that is surprisingly dull, which alternates between syrupy, unremarkable ballads and uptempo tracks that sound like they’ve been assembled by a committee of consultants.

There's not a single stand out track, good or bad; and the likes of this album have been released, oh, a million times over, in the past 8 years--it’s not bad, not good, just a drop in a calm, tepid, flat ocean.

Sleep Mountain isn’t entirely unenjoyable; its two main crimes are that it’s too safe with its simple chord patterns and unimaginative riffs, and that it’s too in thrall to the records that have inspired it.

Vandervelde possesses a strong voice and a definite place as a singer-songwriter, even if that place isn’t too far above the rest just yet.

Birthmarks' charm lies in its comforting familiarity.

There is some nice arrangements here, even if too many of the tracks sound like they belong on some type of chillout/easy listening compilation.

Their style fits in between Chvrches and Taylor Swift’s 1989, though not up to that level of craft. Interesting moments, like the echoing guitar of There’s A Honey or the finger-snap rhythm of Loveless Girl, are drowned out by overstuffed songs with unmemorable melodies.

Megadeth's self-titled swan song is weighted down by its own sense of importance.

All told, The Faint, once again, have written a succesful album.

There is little in the way of actual technique or subtlety, and as an album, Prism falls short of its predecessors in the innovation and charisma department.

Part 2, by comparison [to Part 1], simply feels like an inessential cash grab, and it's strong evidence that everyone’s favorite pop star might be overstaying his welcome.

Listen is set to force you into either accepting the band’s new identity or hitting upon the realisation that the band you originally fell in love with have moved on.