An album that works better as a musical koan than it does a hip new collection of indie folk.

All that retro angst is more rote and less involving than the way its debut tried to square loud guitars with the hooky imperatives of chart pop. In the last several tracks, though, the energy returns.

The result is an album that doesn't quite reach the heights of Vessel, but nevertheless serves as evidence that one of pop's most daring duos isn't about to slow down--even if that means running into a few walls.

Accented by piano, glassy guitars, occasional strings and vocal harmonies inspired by ’90s R&B, the project’s highlights--“Deadwater,” “Weak” and “You’re the Best”--aren’t all that dissimilar from its lesser tracks: lovely, yet forgettable.

Fiasco turns Food & Liquor II into one long tirade -- everything sucks and no one's going to fix it.

The lyrical focus, along with raw production and eclectic instrumentation (including mandolin, strings and autoharp), give the 10-song set a heat that's honest and personal, but not quite the riveting bearing of souls that Heart is known for.

Young's scratchy vocal fails to complement its exquisitely cinematic orchestration until the final two lines show a fleshed-out poignancy. It's the same, too, with his blues performances.... At times, though, Young and his many collaborators do gel.

On Everything Is 4, some songs give him newfound definition, but then others distract from it.

Run is more of a technical accomplishment than an artistic one. Bruno the pop star is not nearly as appealing as Bruno the juggler.

Ink has clearly studied his success, and it feels strategic that Full Speed is sardine-packed with star collaborators.

Bundy's obvious affection for feisty predecessors like Loretta Lynn and Dolly Parton adds an appealing jolt to the music's already clever hooks and personal narrative. But what Bundy still needs to develop are the durable melodies and lyrical nuance that turned those artists' compositions into classics.

It's true that Eclipse unveils itself less coyly than previous Twin Shadow albums, and sounds more brashly contemporary. But it hazards turning generic in the process.

On Dahlia's debut, My Garden, she transcends the sum of her seemingly disparate influences, proving herself to be a relatively distinct artist, even if her risks don't always pay off.

While nothing on Repentless reaches similar heights of mayhem, overall the album is more focused and fierce than its predecessor, 2009’s Hanneman-assisted World Painted Blood.

The bum-outs outnumber the bangers by a decisive ratio on Ludaversal, but that speaks to the rapper's comfort in straddling dissimilar topics.

The music is more subdued than My Chemical Romance's, but Way's still not as understated as the influencers he's channeling. His storied themes of love and pain pop up throughout Hesitant Alien like embarrassing Facebook statuses. It's a largely smooth transition out of the dark and into the bright world of pop.

It's a quick listen, clocking in at less than 45 minutes, and the 10 tracks are laid-back--perhaps too much.

On its eighth full-length release, Glasgow, Scotland, indie pop group Belle & Sebastian ditch their sad-vibes-hidden-by-happy-melodies schtick in favor of legitimately upbeat songs.

The problem is that the hints of personality underneath the braggadocio overflowing on "Based on a T.R.U. Story" exist as faint flickers, pointing to a storytelling skill that has yet to be given the spotlight.

Given Healy's winsome vocals and his good-guy image, the grab at gravitas doesn't always connect.

Lil Wayne is back with the equally confounding Dedication 4, a messy rehashing of this year's respective rap bangers.

The band's first release since 2003, "The Chair in the Doorway," is too scattered -- and occasionally silly -- to make a serious re-impression.

Although the cleaner melodies and pop polish seem to mute the rapper's stream-of-consciousness salvos, he still shines on "Drop the World," featuring Eminem.

At times, Here Lies Love wobbles as a concept album, and listeners unfamiliar with Marcos' story may not initially understand the lyrical conceits. But it contains enough solid material to justify repeated listens.

Although a love for hydro is Cypress Hill's claim to fame, it's the more substantial tracks on "Rise Up" that smoke the competition.

Throughout Can't Be Tamed Cyrus seems checked out of her vocal performances, singing with neither the tween-queen enthusiasm of her Hannah Montana material nor the confrontational energy of 2008's Breakout.

Willowy Los Angeles art-rock group Warpaint summons a remarkably heady atmosphere on its debut album, The Fool, which follows a buzzed-about EP released last year on Los Angeles-based indie Manimal Vinyl.

Simply put, Weezer needs to exorcise the metal demons and find a balance that works.