Despite a few bright moments, Motion is disappointingly bland--especially since Harris has made plenty of memorable electro-pop before and after his EDM makeover.

Bible of Love is an admirable turn for the former Doggfather--now grandfather--and serves as a wholesome but inessential addition to Snoop's protean catalog.

The craft of Our Bright Future is impressive and Chapman's talents are as clearly evident as ever, but unfortunately this album offers precious little in the way of anything fresh or unexpected from this artist.

All the new songs find Bryan looking back over his shoulder at all the fun he's had over the years. Even when the songs get a little funky, as they do on the descending blues riff of the title track, there's a slight melancholic tinge

Aas a whole, Why Are You OK isn't quite as memorable a set as they've proven capable of delivering.

This isn't really a Cinematic Orchestra album--it's a compilation of pieces ("songs" would not be the right word) by Grey Reverend, Dorian Concept, and Tom Chant, and Austin Peralta, plus three tracks by The Cinematic Orchestra.

This is a good document of Morphine's excellent live show and displays the energy and passion that they played with during the tour that supported their breakthrough album.

Perfectly likable and pleasant.

Coming from the creative hotbed of modern-day Berlin, it seems like they could have pushed the envelope a bit more.

It is her unbridled honesty that drives this album right into your gut.

In some ways, Compositions feels more like a film score than other Deathprod albums, not quite resembling variations on a theme, but aurally illustrating a specific scene with each track. Unfortunately, nothing here really expands past being interesting sounds or settings, and these pieces don't elevate to the haunting, mesmerizing level of Deathprod's best work.

Elefant frontman Diego Garcia must have memorized nearly every song by the Cure while he was growing up, because his band's debut album, Sunlight Makes Me Paranoid, is a shameless, abstract pop mix, a solid indie pop record heavy in new wave aesthetics.

This slick homage to electronic hippie music sounds like two smart guys having genuine fun playing something they love.

While Hold on Pain Ends is generally well played and well produced, little new ground has been broken and by and large it comes across as a fairly standard, mainstream pop-oriented metalcore record.

Sonically, it captures the Evanescence mythos better and more consistently than the first album... but without the songs, it doesn't resonate.

Unlike their first two albums, which landed high on the breeziness scale, Mirror II is a tougher listen. It's clear that the band want to grow and expand their musical horizons but less clear that they are able to do that successfully. That being said, ultimately there is enough craft to the songwriting, energetic verve in the performances, and painful truth in the lyrics that the album is worth listening to, and the band is worth sticking with if only to see where they go from here.

Overall, the album is still an agreeable first effort, although it doesn't really produce anything demanding immediate attention.

There are occasional lapses in the lyrics department.

Aiko can be maddeningly platitudinal and singsongy, but her one dimension is a specific balmy backdrop provided by no one else.

An occasionally thrilling, yet ultimately uneven set from a talented band in the midst of a huge transition.

Overall, Tears in the Club may aim for the melancholy, but it's also pretty enough to please those in search of a lush, soothing escape.

In stretches, it's perfectly entertaining, yet most of it goes in one ear and out the other, not leaving much in the memory.

While the album certainly delivers on the darkness, it manages to keep from being too suffocating thanks to the band's bombastic power metal.

It's certainly pleasant either as nostalgia or as high-end lifestyle music.

LotusFlow3r is constrained by its guitar-heavy concept, offering great moments instead of great whole songs.

It is these more upbeat electric moments on the album that truly stand out. That said, much of People Problems is filled with more acoustic, ruminative moments that, while pleasantly melancholic, detract somewhat from Oh No! Oh My!'s more driving pop inclinations.

Perhaps they should stick to singles.

The instrumental interludes between tunes--the aimless meandering of "Muddy Dune," the squiggling "Ash Toke," and the squall of "Pincher"--are just long enough to distract and blunt the twisted, head-crushing impact of Kunk somewhat.