New York dreampop combo meander a bit.

California dreaming, diminishing returns.

Slick yet soulless second effort from Denver’s Answer to Coldplay.

Cynical vocodered mediocrity.

The Circus isn’t terrible. In fact it’s very listenable; genre-wise it falls somewhere between Beatlesy ballads and Billy Joel’s 'The Piano Man.'

STP singer on the solo comeback trail.

A few decent songs can't outshine this record's over-produced stadium rock. The Las Vegas rockers' latest just doesn't have the same sparkle.

Even though her debut album didn't go off so well with her label, Dixon's latest album gives her another chance in the music biz.

Pop and R&B backroom boy steps into the spotlight.

The album fifteen years in the making that sounds like a slick but robotic imitation of what it might have been long ago.

Beyonce still proves that she's an all-around good performer even though her attempt to branch out into an alter ego fails a little.

If it ain't broke, don't fix it! Seal re-visits some soul classics, but dresses them up in a way that turns pure gold into something of a different color.

Not many tricks up their sleeves on this album. The Bronx make more of the same noisy, aggressive songs on an album with the same title as their last two.

Despite initial misgivings, our reviewer found that Little Joy's album delivers an old fashioned pop feel with a little DIY indie sound.

Deerhunter's latest features more pop melodies and fuzzy soundscapes, forsaking the raw, intense sound we all love.

Though it doesn't exactly live up to its name, Legend manages to capture the optimistic sprit of Barack Obama in

Solid and stolid live album from glam punker turned roots rocker.

Anastacia’s voice--once described by a critic as a ‘human air-raid siren’--is still hard to love: when she reaches for the trembling high notes your first instinct is to duck under the table and lock your head between your knees.

After an eight-year hiatus, these hard rock legends return to the music scene with a banging album that has just a little less bite than others past.

The Little Ones are, for the most part, pretty melodious producing indie pop fun with touches of Afro-beat, maybe, possibly!

A rackety, sing-along sound from a band on a largely undefined mission.

Woodly prog rock for weird beards.

Michael Angelakos, aka Passion Pit, brings us a temporary electro pop classic.

For just under two decades, brothers Bubba and Matt Kadane have spent the majority of their time together crafting as near perfect slices of sonic Americana as they could.

This album leaves no doubt that the former Beach Boy is now fully recovered from the 1967 nervous breakdown that effectively stalled his career for decades.

Despite boasting another stellar line-up of guest vocalists, James Lavelle’s dance-rock project once again fails to convince.

The catchiest tune on The Block is ‘Summertime’, and in dignity terms it’s Cohen-meets-Waits compared to their hyperactive teen-pop of old.

Howe’s duet with Neko Case on ‘Without A Word’ is the star of the show though, boasting a gorgeous melody that owes a lot to Gelb’s Tuscon roots.