Aside from a few missteps like 'Everybody Get Dangerous,' there really isn’t anything to get all pissy about here because it’s an older Weezer willing to take a few chances and still doing what they want to do.

Not a mind-blowing work of art, but expect at least a few more singles to blow up over the next few months.

With an emphasis on covers, the overall mood is frustratingly lighter than Winehouse's two studio LPs. It's missing the pointed wit, energy and hard-fought candour that marked her best material, but her considerable vocal swagger is unmistakable.

Produced by VanGaalen, this record explores a whole host of interesting sonic ideas, which keeps things nicely unpredictable.

His greatest strength is his storytelling: lyrics are never expected or trite, not annoyingly inscrutable but just obscure enough to be intriguing.

Still charismatic, quirky and iconic into her 40s, the singer grounds whatever style the band takes on with a trademark confident and longing delivery.

While his tortured, guttural delivery comes off as the lunatic ramblings of an abusive boyfriend, the actual lyrical meat of The Last Romance rings with the uncomfortable, ugly truth of facing your hungover self in the mirror the morning after a one-night stand.

Their approach is no longer as unique as it once was, but unlike many reunion albums, this one stands up fine next to their seminal work.

Despite a more eclectic stylistic palette, his sophomore Puscifer album is just as moody and dramatic as those other projects.

The combination of chugging half-time beats, machine gun riffing and techno's sonic extremism is way more pleasing than it should be, the weakest point being Jonathan Davis's earnest adolescent vocals, which we assume actual Korn fans will enjoy.

Jackrabbit is smart, charming and ambitious. But it would have been a lot more concise without the filler tracks in the middle.

The album, her best to date, would've worked better had she dived into the sea of sadness instead of dipping her toe in from song to song.

Some nice instrumentation, with mandolin and other strings makes for an odd juxtaposition with the stunningly inane lyrics.

It kind of sounds like classic AM radio interpreted by a very strange garage rock band.

The fleeting interlude Sonora, inspired by Cochemea’s Yaqui (an Indigenous nation from Mexico) ancestors, brightens the album with a hint of tropical sax.

Occasionally their influences come through too heavily, and the album would've benefited from one or two fewer songs. Still, a hugely pleasant listen.

Swanlights is curiously one-note, occasionally self-indulgent and fails to leave a strong impression. Or perhaps Hegarty's simply raised the bar impossibly high for himself.

Danny Elfman’s Notorious Theme feels stranded between two worlds, while the Legacy remix of 'One More Chance' is a perplexing and disturbing Pro Tools-era creation in which Biggie’s 12-year-old son rhymes back and forth with his father, lewd lyrics and all.

Simple, lo-fi surf rock fuelled by Daniel Lee's charismatic, laconic singing and melodies as memorable as ever.

It's a solid album, but too conservative to make many converts.

Not as good as we were hoping, but still strong enough to make us excited about the next chapter.

When they do get adventurous and experimental, they execute it with such smoothness that even those moments of danger and excitement sound muted and safe. It's a solid disc, but you can't shake a sense that the Budos Band is capable of more.

Overall, Hard Candy sounds a bit too much like Madonna’s trying to catch up with the American R&B princesses. Having said that, she holds her own for the most part, and when her own voice shines through, she reminds us why she’s outlasted so many.

Despite a few uncomfortable moments, the Brighton trio turn in another solid effort.

It's all deliberate gazes, chins down and forced smiles, like being at your best on your worst days.

His house-derived grooves don't have a lot of the swing and soul that older heads crave, but they're also not nearly as heavy-handed and macho as his haters claim.

Songs are focused, multi-layered and crafted, sometimes even bringing Wilco’s more experimental moments to mind.

Sometimes it feels like he's competing too hard with the intensity of the big, expensive-sounding production--especially on the mid-tempo numbers.