If he keeps going like this, it's a good bet that his best days are behind him.

There's nothing as instantly likable as "Frontin'," and even with the presence of some bigwig collaborators the disc sounds strangely inspiration-free.

The album's bluesy Americana-inspired tunes like "Saving Grace" and "Turn This Car Around" are, sure, kind of predictable, but they make up for that by being pretty darn good songs.

Let's hope we don't have to wait until 2040 for something else this good.

For a bunch of jokesters, these guys deliver some seriously good music.

Head-smashing songs like "Supermassive Black Hole" and "Invincible" all point to an album that strives to be nothing less than epic. It succeeds.

And by classics we mean poorly produced electro songs you'll hear once, chuckle and never want to hear again--unless you have a head wound or a Sparks fetish.

Most of these songs are just as good, if not better, than the ones that actually made the cut.

This could have been groundbreaking once upon a time, but there's nothing really new here and only a few songs ever rise above sheer novelty value.

The group sounds genuinely reinvigorated.

This set of songs comes with a chill of morbidity that's hard to shake.

Fundamental is the group's most inspired album in nearly a decade.

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.

Weighed down with bland lyrics and blander arrangements, it meanders off into chick-rock clichés and lazy easy-listening melodies.

[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.

Employing actress Brittany Murphy on the ridiculous "Faster Kill Pussycat" hardly helps, as does reducing Pharrell Williams' talent with a caricature of a tune like "Sex 'N' Money."

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.

A thoroughly dull collection of acoustic-based country-rock ballads you could hear at any local open-mike night.

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.