The strangest sensation? It's actually all pretty good.

The whole thing seems like a guided tour through the band's different incarnations.

The change may shock fans, but Phantom Planet wears the shaggy tunes well.

While the lyrics range from the stale to the surreal, the band's vibe still gels where it counts.

Songs like "First Night" and "You Can Make Him Like You" conjure up a bit of Springsteen, a bit of Westerberg and far more catchiness than they should rightfully be allowed.

Songs like "World Wide Suicide" and "Severed Head" even come close to recreating the hard rock thrills of the band's billion-selling debut, Ten.

They're not exactly shaking up their own heavy-duty formula, but with the hell-and-handbasket thing going strong, what difference does it make to them?

Nothing here is as generous as the hooks found on the band's sole hit (you may remember "Natural One" from the Kids soundtrack), but there's plenty of mournful rock for the mopers in the world.

Is this another Dawson's Creek soundtrack, or what?

Amazing collaborations that emphasize the veteran band's rich Latin and blues roots.

While a handful of the songs sound derivative, it's hard to resist the tambourine-enhanced exuberance of standout cuts like "Penny on the Train Track" and "I Gotta Move."

Twista still manages to steal the limelight on hot booty-busters like "Slow Jamz" and "Pimp On."

The perfect guest at your next guilty-pleasure dance party.

When all is said and done, Everything to Everyone manages to be good for many.

The Canadian rocker looks like a (prettier) member of Sum 41, sounds like a slightly less-pissed Alanis Morissette and has the streetwise 'tude of Pink.

The lyrics seem clumsy, and some of the melodies feel warmed over, and the Carlos Santana-appearing "Illegal" is a total buzzkill. But it's not all a loss.

The Texas trio sounds like a new group.

The Detroit rapper brags about life after success--money, women, drinkin'--and uses his mediocre rhyming skills on anthemic, fist-pumping Rock staples like "Forever" and "Cocky."

This is smart, literate stuff painted on a rich canvas of pedal steel, ukulele, upright bass, strings and soft drums.

A euphoric mix of wild Latin rhythms, electronic surges, soothing acoustic sounds and just about every instrument imaginable.

It's not as hands-down great as the Swedes' last (Veni Vidi Vicious), and a handful of tracks are too-short bursts of energy that only leave you wanting more. But when the band gets rolling with tracks such as "Walk Idiot Walk," there's no stopping it.

Though it's an interesting idea and is at times stirring, the results don't always work as well as one would hope.

[A] low-key album.

A self-titled debut album steeped in beautiful but bland lovelorn ballads that tip a wool cap to vintage Elton John.

Sounds exactly like you would expect a Tool album to sound.

Critics called it lazy, self-indulgent and amateurish--as if its predecessors somehow resembled Dark Side of the Moon. The truth is, this sounds exactly like Skinner's last two Brit Award-winning and Mercury Prize-nominated discs.

Overall, a nice trip back to Plant's British folk rock and American blues roots.

Embracing lonesome gothic-folk traditions, slight blues and country, this stark release is all about misery, hardship and stuff you'd rather not think about.