So, is this genius or is this madness? As enjoyable as it is on occasion, I’m inclined to side with the latter.

Review 1: <A HREF="http://www.stylusmagazine.com/review.php?ID=1936&PHPSESSID=c34e5fbb0933de1389469828674b499e" TARGET="_blank">It&#146;s unfortunate that this band is so unsure of themselves, least of all lyrically.</A> [score=50]; Review 2: <A HREF="http://www.stylusmagazine.com/review.php?ID=1937" TARGET="_blank">Heroes To Zeros strikes a balance between enervation, subtlety and creativity.</A> [score=80]

RUOK? sees Dangers with his abilities at their fullest, but with aspirations in a less interesting direction.

Overall, the impression generated by Tulsa for One Second is one of inoffensive pleasantness.

There&#146;s nothing wrong with collaborators -- and Faithfull has picked some good ones -- but the quality seems to be directly linked to who is behind each song.

At times its earnestness and self-conscious attempts to prove its own expertise make it seem more like the work of a surly, awkward late-adolescent.

Barlow has stripped away the beats that made it interesting and blurred the line between this band and his others.

This material is as inconsistent as anything off their past few records, but when they do hit upon a good moment, it tends to be really good.

It&#146;s not essential listening by any means, but an interesting look into his working methods of previous years, nonetheless.

The Furnaces&#146; brand of sonic mayhem may not be for everyone, but there are rewards for those who dare take the plunge.

If anything, it feels like Gibbard has regressed to the point where he sits in the shadow of his bandmate and producer, Chris Walla.

From its opening bars of stop/start low end, to the motivational tape samples, to the aforementioned multi-tracking, Elephant just screams and begs to be viewed as a departure from the Stripes’ well-known approach. The problem is that in between all this commotion lie the same vintage jams that the group has trafficked in for years.

When [Love is Hell] works, and it does so only sporadically, Adams creates songs of suffocating closeness and density.

<A HREF="http://www.stylusmagazine.com/review.php?ID=1752&PHPSESSID=962ece01ecbce6b79b9bf797952f15ee" TARGET="_blank">It's a much stronger record than you might expect from something that will probably wind up being, in retrospect, a transitional album.</A> [Review 1, score=80] <A HREF="http://www.stylusmagazine.com/review.php?ID=1753" TARGET="_blank">It's just too much; too much noise, too much concept, too much deep NJ woods isolation, and too many witches' tales.</A> [Review 2, score=50]

Sleep and Release is both an exceptional release and an unfortunate release, and even when it&#146;s at its best and at its worst, it remains both of these- its emotional and musical scope help the album succeed and cause it to fail.

If the arrangements were given as much attention as the astonishing, rich, in-the-same-room production: 9.1

While little here strays far from the sound Death Cab has been tweaking for the past five years, it still makes for an intriguing listen for even casual fans of the group, and has its share of genuinely stunning moments.

Fire&#146;s not something we&#146;ll remember for long, but it is a surprisingly good album, with highlights that simply need to be heard.

It suffers from a lack of identity.

Since We&#146;ve Become Translucent&#146;s greatest flaw -- its dumbed-downedness -- becomes apparent and sad as the album&#146;s first half goes on.

Revolverlution illustrates that they can adapt to varying song forms, that they are open to technology and that they are still able to craft gripping hip-hop. Unfortunately, they have also kept up with the hip-hop nation by making an album that doesn&#146;t contain enough decent material to justify its near-ridiculous length.

A complacent, inoffensive set of songs that belie the talent and vision of their creators.

There&#146;s plenty to recommend this album, but rarely do Shipp and Antipop ever really come together.

It&#146;s a good voice, but it&#146;s not a good album.

There's "Karma" and "I Don't Know Your Name." You and your iPod know what to do.

Summer Sun, while constantly very good, is never creative, inspiring or great. [Editor's Note: Score listed is an average of three separate reviews/scores by this publication: 56, 60, 68]

There&#146;s a distinct lack of personality, meaning that LL Cool J&#146;s eleventh long player is merely good, and his reputation (and bank balance) will be neither tarnished nor expanded.

If the original and inspiring Icarus Line take on itself had been continued from the beginning or, better yet, the record had been shortened, we&#146;d have a masterpiece on our hands. As it is, a much better outing than Mono and a brilliant song in &#147;Getting Bright at Night&#148;.