When the World Comes Down doesn't evince much growth, proffering more of the same hooky pop/rock centered around adolescent love and heartache.

One wishes they would spend a little more time plowing through the album while kicking amps and knocking over mic stands rather than changing things up.

"Me First" is an easy listen, but Sennett is not nearly as captivating a leader as Rilo Kiley's Jenny Lewis, and the coming-of-age tunes aren't always strong enough to account for the album's lack of tempo change.

At 22 tracks, "Damita Jo" has its fair share of hits and misses.

Unfortunately, he's traded some of his cutting-edge British mergings (R&B, hip-hop, two-step, rock) for a more crossover-friendly (read: formulaic) approach that doesn't fire on all cylinders.

For most of "Saturday Night Wrist," Deftones contentedly let their instruments wander, inventing a meandering soundscape that broods in near darkness. [4 Nov 2006]

If Hawthorne Heights stopped trying to please several different audiences and decided whether it wanted to be a pop band or a post-hardcore group, it could make a more definitive musical statement. [4 Mar 2006]

Although he seems to have rediscovered his panache, the music supporting his narratives is still lacking the originality of his best work.

From the ugly album art to the stupid title to the strange, messy songs, it's hard to tell if the band is growing up or just goofing off.

Their technically adventurous playing occasionally gathers some spooky steam, but this is definitely a fans-only affair.

Even though "Doctor's Advocate" has its failings, it's a prescription that comes recommended. [18 Nov 2006]

The Memphis five-piece sometimes lacks a definitive sound... Yet the band excels at its straightforward, meat-and-potatoes sound.

The project just doesn't offer as many gems as "King," which pushed T.I. to new commercial heights.

While the overlong album sometimes threatens to bury C&C with its own excess, the craftsmanship suggests the band is more than capable of breaking into the mainstream. [24 Sep 2005]

"Play" is light-years more enterprising than Diddy's sample-happy history might suggest.

Too much here sounds like Coldplay-by-numbers, and the lyrics lack the deeper meaning the album seems desperate to provide.

100th Window meanders along, emotion-less and soul-less—albeit with haunting Middle Eastern flourishes.

The album is hampered by needless skits and, at times, too slick production.

That overstuffed guest list doesn't necessarily work to the exclusive benefit of The Spirit of Apollo, as sometimes the clutter makes it hard to hear precisely what kind of music Zegon and Spiegel are trying to make here.

Those looking for "Marquee Moon"-style guitar heroics will be disappointed.

If Tangiers perfects its poppier maneuvers and smartens up a bit lyrically, something special could be down the road. [10 Dec 2005]

Much of the material on the quirky "Show Your Bones" is more intimate and, at times, tentative. [1 Apr 2006]

Lerche seems headed in a promising musical direction, but not all the songs here pack the expected punch. [10 Feb 2007]

Focusing more on catchy hooks and Fergie-style chants than lyrics helps disguise her vocal limitations. [9 Jun 2007]

To be sure, the quiet side is the more powerful.

Mostly, this is by-the-numbers stuff.

The entire record is a disquieting trip.

Touching Down is a fluid set that moves from track to track with little or no delineation. As a result, the album is, at times, redundant.