Like a crisp Xerox of the band's multiplatinum Break the Cycle, with everything sounding bigger, brighter and tighter.

Even if it all sounds pretty much the same as their last few, you'd be unwise to turn a deaf ear to this release.

He comes across like a smarter, gentler sidekick to Badly Drawn Boy.

If you aren't down with Manson, this won't change you one bit. But for Manson fans, Grotesque is beautiful.

A semi-charming collection of catchy hooks, decent pop rock and just enough shades of darkness to keep you interested.

The slick production will scare off longtime fans quicker than a cross repels a vampire, but for the rest of us, it's an easy introduction to a crew of weird guys who deserve to be heard.

It's sweet and kind of sexy and all that, but clearly designed for those who find John Mayer too challenging.

Give it a couple of spins, and you'll find it's completely mind-blowing.

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

Aside from the thumping groove of "Nobody Knows Me" and a few other bouncy beats, much of the electro style Madonna experimented with on 2000's Music has been replaced with warmer sounds and earthy touches, like acoustic guitars and a choir that comes from nowhere on "Nothing Fails."

Totally depressing and totally engaging.

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

There is an army of producers, songwriters and guests that make Thankful's mom-approved hip-hop beats and love songs feel as contrived as Clarkson's perfectly placed highlights.

With loads of acoustic guitars and the Jayhawks' winsome country harmonies, this album looks back to the sound of Crosby, Stills & Nash.

Rages and riffs with epic drama.

An hour-long dream-pop kiss that floats by on a bed of brushed drums, lilting Hawaiian guitars and whispered vocals.

Williams' captivating lyrics are gut-wrenchingly intimate.

Sure, the waifish white girl slips up plenty by trying too hard to be cool, but it feels like they're having a good time, as the duo scratch and shout their way through head-swaying slow songs, soul-funk Jamiroquai-ish joints, some pop quickies and an array of other styles.

It's a massive success.

The production varies from understated to glossy, and Cash has enough presence to carry it all off.

Through it all, the guys stay just as tight (translation: radio-ready) as ever, offering up tracks in near-perfect three-minute doses.

The four-piece has transformed into a genuine powerhouse, blowing away any so-called new rock revolution contenders with lovely melodies and effortless intensity.

Our adult Malkmus is less prone to toss off a half-finished rough gem and more likely to polish and polish until things are a little too shiny.

Ms. Dynamite's debut album is heady stuff, punctuated by groundbreaking beats, seductive vocals and melodies that lodge themselves firmly into your cranium.

At times, he's guilty of doing his best Lenny Kravitz impersonation.... But those moments pass relatively quickly, and he slips back into his stripped-down, socially conscious self--and that's when Harper truly shines.

The rootsy folk and ethereal harmonies drift lazily, setting a lonesome, winsome mood, without being somber.

A well-crafted mix of hardcore bluster, determined melody and anthemic grandness that boasts depth and texture rarely heard from the Warped Tour ilk.

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.