A resounding disappointment.

Morning Report finds Arkells lost and deep outside of their comfort zone.

There’s a world-weary wisdom that was only hinted at in party-heavy previous albums, and the band is skilled at translating it into catchy lyrical nuggets you can raise a tall can to.

Their name may reference a 52-year-old Elvis Presley musical, but Blue Hawaii are poised to have a lot of people talking about them right now.

Every few months, the members would meet up at their studio and play whatever they felt like without the looming pressure of album cycles or release dates. Eventually, these sessions became the basis for Waltzed In From The Rumbling, a record at once thoughtful and unwieldy.

The otherwise likeably raunchy and bratty Pink is now officially walking a fine line, leaning dangerously close to the humdrum.

A few rhythmically awkward moments detract from the album’s overall flow, particularly on 'High Life,' but chalk that up to two competing staccato production styles.

On Sail Out, Jhené Aiko remains on her cloud, delivering 30 minutes of alt-R&B respite from reality, displaying soothing vocals, double-entendre-laden wordplay and a knack for choosing collaborators.

Mixing punk rock with cute pop, the Atlanta, Georgia, quartet are a fine addition to Slumberland's near-flawless roster.

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

His vocals do the job, even as his lyrics will probably keep the majority of ears fixed on the instrumentation.

It’s a collection to bob your head and sing along to, something that will never go out of style.

The aggression is still there, now tempered with lighter numbers like Feathers, but the whole thing still reeks of comic nerd sci-fi awesomeness.

Disappointingly, she doesn't go all the way with this new, abrasive approach. Instead, she lets ex-Suede guitarist and Duffy mastermind Bernard Butler smother the album with corny string and brass sections that try but fail to impose a 60s girl-group aesthetic.

On Maps, BR breathe new life into their formula--short, fast and melodic Cali skate-punk ditties led by the always politically and socially aware growlings of lead singer Greg Graffin.

Just 30 minutes long, Castlemusic demands repeated listens.

Brazen Bull is a cohesive, if lengthy, album that offers only occasional audio reminders of who was behind the board.

Seventies and 80s soul and funk influences shine through on nearly every track.

While Big Sean is a charismatic and occasionally clever rapper, he often fails to dominate the big production elements he rhymes over.

Ambitious, high-concept albums are one thing, but Posse's just a boring mess.

With folky guitar picking, lush harmonies and sophisticated melodies, this album is a must-have for all of Bachmann's fans.

It might be an imperfect stepping stone, but the staircase he's climbing here shows great promise.

The 15 songs are relatively short by ambient standards, which makes the album feel like a collection of sketches.

The 27-year-old can write killer tunes, and his voice is sweet-guy inviting. There’s a masterpiece disc in him yet, but this still isn’t it.

Though he stays within his comfort zone, frontman Travis McCoy is a gifted MC who usually upstages the rest of the band members, who sound like hired hands. And Daryl Hall sings on a track. That's gotta be worth something.

Packed with lo-fi-meets-nu-rave parsings of UK post-punk discontent, the album’s distorted melodies are immediately catchy yet convey brooding emotional depth.

Ferry manages to breathe new life into [the songs] while maintaining their integrity and original purpose.

The Empyrean, is an engaging collection of brilliant soundscapes, fancy guitar work and some intriguing electronica flourishes.