Too often, it’s a simulacrum of passion: feel-good house music as daily affirmation. Unlike the broad scope of their videos, their songs feel squashed, like an inspirational message made for Instagram’s tiny window.

Grrr... seems transcribed from a distant memory or read from the pages of a script.

Uncanney Valley seems too bent on interrupting serious moments with corny jokes and bewildering asides to say much of anything about anyone else.

Across the album, his voice is helplessly buried beneath vocal processing and mixed conspicuously low, as if to purposely obscure his lyrics. These effects aren’t new to the Voidz, but on Like All Before You, they dominate, obscuring any humanity in Casablancas’ vocals.

[A] disappointing release.

Toying with sound and rhythm, noise and melody, Square is less minimalist than Hope, more fractured than Second.

This record meanders through a set of passable songs that ultimately decline to move or enthrall you.

Dolphins is both hypnotic and staggering at times, but it lacks the extraordinary stamina that those earlier Mi Ami long-players kept from end to end.

This is Kinski’s most straightforward rock album, and certainly the Kinski album with the best, most concise vocal songs. If anything, the cranked-up, low-tempo instrumentals are now where the band fares worst.

Su might not have the highest aspirations, but minor dreams can still compel a listener; Sincerely Yours just needed to find better modes of expression.

It might still mortify some of his more purist fans, but there's little on this record that a few instrumental-version substitutions wouldn't fix.

One of the best things about the AMY documentary is that its pacing feels so natural--invisibly punishing, just like life. The effect of this soundtrack is exactly the opposite. The power of her voice is undercut by the regular intrusion of the film score, which doesn't reference her musically in palette or instrumentation. As a result, the album feels like a powerful hand clasping a limp one.

It’s a pleasant oddity in the Shins’ catalogue—neither a dazzling reinvention of the original release (see: Massive Attack V Mad Professor’s towering No Protection) nor a hastily-assembled insult to the band’s creative work .

Left to his own devices, Nav sometimes strays back towards raps without substance, coasting on pristine beat selection and Auto-Tune that lull the listener into easy-listening mode.

There are moments when these elements come together beautifully, as with the nostalgic dreamscape that surrounds Lola Young’s soaring vocals on “Trying.” At other times, Fred again..’s songcraft struggles, and fails, to break through.

An album in which he and his reformed jug-band compatriots paradoxically reach for a musical approach both more complex and more approachable, instead landing squarely in the realm of mediocrity.

While the songs certainly do the Whigs no favors, the production and mixing on Dark are downright unconscionable, making one long for the relative restraint of Don Gilmore or Andy Wallace.

This Unruly Mess I’ve Made is nowhere near as bad as its detractors would like it to be. It’s an occasionally inspiring, often corny rap album made for winning Grammy nominations and waking the hearts of the unwoken. The sum of this is sometimes appealing, though frustrating.

The progression from early singles to first album isn’t nearly the same arc as it was just 10 years ago, but it’s still weird that the first full-length showcase for Skrillex as self-contained album artist feels more like a transitional record than a debut that plays to his strengths.

There are no insights to be found here about prestige, depression, or dependency. The whole thing is unbelievably dour and boring.

On No Mercy, he sounds absolutely sapped of energy. And that's rough; nobody plays the ferocious livewire better.

Counterfeit 2 correctly presents itself as a box of hobbyish bric-a-brac for friends and completists.

A disorienting hodgepodge of new songs and instrumental score padded with annoying segments of dialogue from the movie.

While it's unfair to directly compare Courtney's solo work with Hole's shifty discography, America's Sweetheart demonstrates a fairly monstrous decline in both quality and conviction.

Although there will always be certain comfort in Margo Timmins' voice, her limitations are frustrating.

An album with a sharp ear and a positive, inclusive atmosphere.

Yet like last time, there are plenty of sturdy, major-key melodies that go straight for the jugular. But whatever sing-along quality they have, their effectiveness is almost always determined by context.

The most impressive aspect of 200 Years, especially considering it as the debut of a new collaboration, is its overall aura of cool confidence.