Although Young's compositions on Chrome Dreams II aren't quite up to the quality planned for the first volume, the 10 songs at least have some of the shape and gravity if not the epic dimension of his classics written decades ago.

At times, these preoccupations feel clumsy in their topicality, and it's hard to tell whether GOF's unthinkably long history as a Band That Has Things To Say makes this more or less forgivable.

Coaster’s not exemplary, but it’s definitely a quality late-career entry in NOFX’s increasingly uniform catalogue.

Despite Azalea’s nimble delivery sometimes lapsing into the mechanical, there are moments on The New Classic when she sounds ready for prime time.

He’s managed to inject this compact collection of eight tunes with more than a whiff of 90s alt-radio nostalgia, but the songs are hummable enough to rebuff anyone inclined toward cynical eye-rolling.

The slick production values and mighty arena-filling guitar and drum sounds will jolt fans of the New York City band's charming lo-fi debut.

The unexpected bit is that there are a couple of tracks where the Junkies appear to be making a move from their brooding ballad comfort zone toward brooding bluesy shuffles that very nearly get funky.

At 36 tracks, Ghosts is as impressively ambitious as it is uneven and stunted.

It's dizzying, and you'll want off at times, but you'll likely ask to ride again.

The album's psychedelic pop runs out of gas near the end in cringe-worthy Battersea Odyssey and Let The Wolves Howl At The Moon, but by then you're won over and wondering how you slept on this band for the past nine years.

More than a decade out from the band’s shift into electronic music and their reinvention as what at times seems to be a soundtrack band, it’s hard to tell if Mogwai have aged well or just sort of boringly mellowed.

By sticking mostly to introspective songwriting, the quintet ignores the strongest tool in its arsenal. It's no surprise that the most memorable tunes are the few where they let their fingers fly.

The Menzingers haven’t necessarily mastered the grown-up punk formula, but they’re certainly maturing with each new release.

Smith Westerns have proven themselves adept chameleons and excel in their new style. It’s just tough not to miss the old one.

Absent Fathers doesn't offer much in the way of answers--it's more a snapshot of a process.

While it fails to match their previous hit quotient, it's still a decent listen.

The album is overly long, but there's a straightforwardness to the live-and-loose party vibe that's hard to resist.

Fans of the Editors will certainly dig the dour pop 'Expectations,' while the album’s optimistic anthemic opener, 'Happy As Can Be,' offers the record’s most memorable moments.

When they slip up, it’s due to stupid lyrics or mainstream tendencies (like the beginning of the first single, 'Burial'). But they do create winning synth moments on 'Song For No One' and 'In Search Of.'

Despite the flaws, you can't deny that Segall's got real talent, which would be wasted if he just stuck to the psych/garage throwback formula.

It sounds like the producers are all competing to drum up the best variation on Ciara's patented Crunk N' B theme.

Setting a song called 'Livin' In The Future' to the tune of 'Tenth Avenue Freeze-Out' indicates that Springsteen's sense of humour may be returning, but the fact that Miami Steve didn't tell him 'Girls In Their Summer Clothes' sounds a little too much like 'The Kids Are Alright' suggests it's not quite back to the good old days yet.

People who like him, rejoice. Those who don't may continue to live without his music.

This is an endearing and eminently likeable listen.

Songs like Roll Up, Hopes And Dreams and The Race best showcase his self-assured charm.

Wasner’s vocals seem more confident and assertive now, as if she’s come of age. Still, there are moments on Shriek just yearning for a clever guitar melody or screeching solo.

Not surprisingly, the resulting cameo-plugged record sounds more like a G-Unit album than an Infamous one.

Frusciante's guitar work... almost single-handedly saves the project, but not quite.