It just goes to show that on a DJ Khaled album, you can't be Eddie Van Halen. You've got to be David Lee Roth.

Legendary Weapons is fine enough for diehards, but doesn't reduce the general desire for an actual Wu-Tang album.

Even if this EP is the byproduct of a band that's working out the kinks, it's still a promising glimpse into what to expect from How to Destroy Angels' 2011 full-length.

Unfortunately, the bad tracks merely remind us that for all Cut Your Hands Off’s brazen energy, towering sound, and melodious verse-chorus one-two punch attack, it’s the subject of the songs that ultimately bores. Which is a shame, because most of the time, these guys get everything else so damn right.

Consistency is not Yo Majesty’s strong suit, and Futuristically suffers from an uneven and unfocused approach. Despite this there is plenty to enjoy here.

If the members of Rye Coalition had at least done a masterful job of impersonating their muses, we could call Curses a tribute album. Sadly, they fail even in that.

Waiting for the Sunrise doesn’t signal the end of Vandervelde’s party, but one hopes he gets his second wind rather than becoming satisfied and heading off to bed.

My Guilty Pleasure is more cohesive, its production more varied, its songwriting more effective.

Malice N Wonderland is not, by and large, very ambitious.

It may be the weakest album in their catalog.

Here, Friedberger has once again proven his capabilities. At times they impress, but too often they confound, and it's beginning to seem as if he's too comfortable in his distance.

Despite all the stupid records he's put out before, The Return of Dr. Octagon is the first one that plunges wholly into self-parody. He's now a fully realized clown, a prop, a joke and, most disappointingly, a sub-par rapper whose forced ideas and personality obstacles have devolved into flimsy, uninspired character sketches.

Although these songs of attempted triumph comprise the band’s strongest material yet, they still lack the originality that will shed them of the “underrated” label they’ve worn for the last decade.

Invisible Ones stands steadily as an encouraging signpost in Fink's career.

Spine Hits feels too spacious, lacking the depth that both [newly-departed singer] Fannan's swelling vocals and improvised jams filled the band's two previous releases [with]. Regardless, Spine Hits is an enjoyable listen.

It’s disappointing that a duo this good on paper could be responsible for an album as uninspired as A.M. Even the album’s better songs (the piano-led 'And I Wonder' and the sauntering 'The Wrong Turning') are limp and tedious at best.

It's the most cohesive and listenable record he's made to date.

The band plays its own game of seduction throughout the album, giving us danceable, practically glandular beats while singing lyrics of fear and loathing.

Aside from... one unstructured, unwieldy track, Dumb Luck proves highly smart and skilled.

The strength of the album rests not on one aspect. From the dense lyrics spanning a wealth of topics to the perfect production, The Art of Love & War proves that Stone isn't going anywhere.

With their third album, Entertainment, they succeed best whenever they are warming up their familiar electro sound with pop elements rather than aping worldly sophistication.

A majority of the tracks lack in everything but production value.

Noah and the Whale try their best to make weighty songs (look no further than the paint-by-numbers description of a funeral on the limp “Death by Numbers”), but they’re better as a pop group that digs ukuleles and acoustic guitars.

Sixes & Sevens feels more like movie-hopping at an art-house multiplex, an exercise in genre formats and stolen identities.

Comparing his remarkable contributions to Deerhoof with this boring, nondescript effort suggests that Cohen should open his studio doors and welcome collaborators.

While the album, at times, feels a bit monochromatic, it maintains its intrigue and never loses its vision.

The outright space exploration of Lindstrøm's previous musical outings is sometimes lost here. His dancefloor is fun, but its been grounded this year.

It doesn’t challenge listeners or give them anything unexpected or even asked for, really (who's waiting around with bated breath for 'Ring-A-Ling?'), but it’s already a certifiable hit.