She mysteriously trims away her individuality and morphs into a J.Lo imitator.

Even if Keane hasn't completely gone down with Under The Iron Sea, the band is merely treading water here.

[It] shows things are as loony as ever in Busta's camp.

[It] feels more overly familiar and Velvet Underground-y than usual, which isn't a good thing for a band with such forward-thinking ideals.

Her vocal quirks can take some getting used to, but the oblique melodies and cosmic lyrics in songs such as "On the Radio" and "20 Years of Snow" demonstrate what a remarkable talent is mixed in with all the idiosyncrasies.

By mimicking the sound of every Hot Topic band crashing into one--with songs that pilfer from the Killers, My Chemical Romance and Fall Out Boy--we have to wonder if they haven't just orchestrated their own extinction.

A blur of shouted vocals, tribal drums and scattershot riffs.

An urgent, soulful collection.

Edgier and more experimental than its predecessors, The Garden also ramps up the chill factor.

Listening to all this Edge-y guitar doodling and whiny wailing, the question remains: Why mess with a fun, 20-million-album-selling formula for this ponderous prog project?

The Texas trio sounds like a new group.

Unfortunately, she has also followed Ms. Knowles' lead in recording overly earnest, confessional ballads.

Sounds like they had as much fun making it as you're going to have listening to it.

Hoobastank balances heavy riffs with dark existentialism and hooks that closely imitate that of its breakthrough hit.

Weird, wonderful and, yes, super.

The reactionary disc is a step up from 2003's similarly political offering, Greendale, largely because it doesn't come disguised as some community-theater production.

On bluesy new tracks such as "Stubborn Beast" and "Moonshiner," she conjures a sensual, serious confidence that suggests she's ready to depose Cat Power as the queen of indie teardrop ballads.

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

In a meeting of the minds, the folk hero and the electronic-music guru produce an unexpectedly listenable collection of songs that doesn't really compromise either of their styles.

The band's naked ambition would be offputting if it didn't come wrapped in such resounding choruses.

Unfortunately, Jewel... chooses to revert to the soppy musical formula of her 1995 debut, Pieces of You.

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.

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

The surprising thing about this retro rock trio is that it can actually rock.

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.

It's quite possibly his best album since 1982's Nebraska.

As lyrically inflammatory as ever.

For a better taste of Harris' harmonizing abilities, try her recent collaborations with young'uns like Bright Eyes and Ryan Adams.