‘A Different Kind of Truth’ is surprisingly cohesive. And Eddie sounds as good as ever. His solos burn track to track reminding you why these guys are legends. This is classic Van Halen. Nothing new, nothing experimental. It’s what you’d imagine the follow-up of ‘1984’ would have sounded like. That might have something to do with the fact that some of the songs were unreleased, unfinished tracks from the bands early days together.

“Tattoo” starts off with lyrics that are essentially meaningless, ala “Jump”, and yet it is surprisingly catchy. “You and Your Blues’’ doesn’t get rolling until Eddie rips into a solo which seems to energize Roth who brings the song to a fantastic close. “China Town” is perhaps the albums best track and Eddie once again proves he is the guitar master.

‘A Different Kind of Truth’ isn’t all great and some of the songs could have been left behind, particularly those where Roth mixing up his current gig as a lead singer and his previous gig as a radio talk show host. More singing, less b.s.ing. All-in-all, ‘A Different Kind of Truth’ is a very surprising release and one of the best comeback albums you will ever hear. It’s rare that a group gets back together after nearly 30 years and sounds as lean and mean as they did the last time they were together.

Rating: 7.5/10

Lana Del Rey is a bit of a mystery to everyone. Is she unique or is she a part of good marketing set to capitalize on the likes of Ke$ha and Katy Perry. The difference is that Lana Del Rey comes off as uninterested, ambivalent and perhaps a bit soulless. But a purposeful soullessness. If there is such a thing.

“National Anthem” is interesting mixture of pop of the past stylized for today. Del Rey spends a lot of her time caught up in singing about loving all the wrong types of men. She tries way to hard to prove she’s hip, and some what hop. Del Rey is full of cliches and that what often makes the music lose its steam.

“Off To The Races” finds Del Rey going old school and keeping it potent. While “Dark Paradise” continues a race to the bottom. “This Is What Makes Us Girls” is the opposite of any song a parent would want their daughter to listen to–it’s all about drinking, skipping school and so on.

Lana Del Rey leaves the impression that she is trying too hard to be interesting. Everything is a chance for her to prove she is bad. But the ones who are really bad-ass don’t spend al of their time talking about it and trying to prove it. Then again, Del Rey is an interesting story teller. Something tells me Del Rey might be more interesting as a movie character than a album full of anthem attempts.

Rating: 6/10

“Hate Train” quickly proves this is more than some garbage that didn’t make the cut. Metallica once, long ago, tried to create epic songs and finally you find them back and as ambitious as ever.

“Hell and Back” feels a bit more like the modern Metallica rather than the band on ‘Death Magnetic’ that was trying hard to duplicate past successes. It’s a bit experimental but not too shabby.

“Just A Bullet Away” sounds unfinished but is still quite potent. “Rebel of Babylon” is a bit of a return to form. A bit more work and these songs could have been a bit tighter and overall better.

Every song is over seven minutes which means so four songs clock in at nearly a half hour. It’s not going to satisfy Metallica fans who want a full release and a return to past form, but its aa quick way to make some fans forget the regretful ‘Lulu’.

Rating: 8/10

If Robin Thicke had a bit more energy “Stone In The Heart” might be one of his songs.

There seems to be some similarities to Gorillaz. But would you also believe there is a bit of that Danger Mouse/Gnarls Barkley flavor as well? “Annie You Save Me”, “Stare Into The Sun” and “Lay Me Down” all have that sexy, fun flavor.

“This Man” is a bit Prince while “Free” is a taste of Rod Stewart from decades ago. “Free” really sticks with you, I’m still singing it. Speaking of decades ago, “Never Look Back” has a bit brit-pop from the ‘60s in it. If this was on an oldies hit station you’d never think twice. “Colours” and “Over You” are simple, beautiful songs.

Graffiti6 are hard to peg. It sounds like there are a lot of influences going on here and you have to give them credit for being able to stretch across all of them. Singer Jamie Scott’s vocal range and ability is amazing. He’s the difference between something ordinary and something gold.

Rating: 8/10

“System” starts the album off right with a rhyme about the end of time. “Machine” carries it forward by saying its time to stand up because its not too late. You just wonder how many fans are actually listening rather than just grooving along.

“Sssnakepit” finds Enter Shikari starting like Prodigy and ripping into something out of Slipknot’s comfort zone. It’s a very interesting combination. “Stalemate” is different. It is slow and softer, but still has great lyrics and rhythm. It’s a bit more thoughtful and smart like something you’d expect from Muse. “Stalemate” actually has me reconsidering the best parts of Enter Shikari.

“Warm Smiles Do Not Make You Welcome Here” borrows from Muse and a bit of the Manic Street Preachers. It’s a hell of a fun song.

Finally, the lads end with “Constellations”, seemingly tender song that just hides behind that facade. Listen closely and its deeper than just a bunch of the normal musical b.s.

Whether you care or not about politics and making a change, Enter Shikari can still be an interesting listen. But if you too are pissed and want something to listen to while occupying something you’ve got a band for that.

Rating: 8/10

The sound is lovely throughout, but nothing jumps out as amazing. “Empty Threat” is pretty as is “Chameleon/Comedian”. Edwards sings about being a chameleon and hiding behind her songs. It’s not a revolutionary thought.

“A Soft Place To Land” sounds like Sheryl Crow without a hook that will help you remember the song tomorrow. Even when Edwards tries to create something more interesting and uptempo it still misses; “Change The Sheets”.

“Voyageur” is another album that you want to grasp and love but it just doesn’t have that “It” factor. There is something missing. That is until “For The Record”, about Edwards’ divorce, where you finally feel a connection. It’s just too bad its so late.

Rating: 5/10

“Right In” sets the tempo in a big way. Skrillex takes a style of music (dubstep), tosses it on its ear, and then kicks it in the balls.

Skrillex takes interesting styles and finds a twist and keeps twisting. “The Devil’s Den” is arena-big without even trying. You listen to it and all you can think is “WTF?” And yet its freaking brilliant. “Right On Time” is like Fatboy Slim on steroids.

And seriously there is an “Orchestral Suite”? Why the hell not… nothing else is what it seems. Just sit back and enjoy it. It’s sort of like a little spoon full of sorbet to cleanse the palate.

Rating: 8/10

The song “The Boys” will go over well at high school dances. But there is something odd about the song. The singing is fine, if not overly auto-tuned, but the rhythm of their voices often seem slow and has a weird tempo. It seems off for some reason.

“Telephathy” goes into Korean and honestly who cares? Why even put this on an American release? Speaking of why release something… “Say Yes” is like listening to Aqua but without the catchiness.

“How Great Is Your Love” is just enough to make you bail out of this sugary sweet Korean pop. It’s as bad an import as you’ll hear. Pop music already lacks a lot of soul–Girls’ Generation has none at all. This is just singing for the sake of singing without any concern for the music itself.

Rating: 4/10

Now, its 2012 and they have released their latest album “For the Good Times”
. It’s not surprising to find Norah Jones stealing the show. In reality, the album would be just fine enough if she had taken on all the vocal chores.

Norah Jones and Richard Julian combine their gorgeous harmonies on “I Worship You” and really make you want to listen again and again. But Jones alone would have been enough.

Lead guitarist Jim Campilongo brings some sweet licks to “Diesel Smoke, Dangerous Curves”.

“Lonesome Blues” and “If You’ve Got The Money, I’ve Got Time” find Julian and Jones hearkening back to country music from decades ago.

“Foul Owl on the Prowl” is an interesting song about a murderer from In the Heat of the Night and finds Jones finding her inner Dolly Parton. Speaking of Dolly Parton, Jones does an amazing version of “Jolene” which steals the entire show.

Norah Jones hasn’t sound this charming in quite a while. Perhaps she needed something where she didn’t feel the pressure of being Norah Jones. Instead, she could have fun and just go for it.

Download: “I Worship You” and “Jolene”

Buy “For the Good Times”

The world’s biggest animated band, Gorillaz formed in 1998, and have since sold 12 million copies over two albums Gorillaz (2000) and Demon Days (2005). They have hit number 1 in more than a dozen countries and picked up awards including Grammys, Novellos, VMAs and EMAs.

Artist: Gorillaz

Title: Plastic Beach

Label: Virgin

Rating: 6/10

Review:
“Welcome to the World of the Plastic Beach” f/Snoop dogg and Hypnotic Brass Ensemble – I’ve never heard Snoop Dogg so calm and fluid. He sits back in a lethargic beat while trying to bring a message of landfills and environmental issues. Snoop an environmentalist? You have to wonder if he got the memo.

“White Flag” f/Bashy, Kano and The Lebanese National Orchestra for Oriental Arabic Music – The beat is hot but the hip-hop is passe. Does Albarn even knows the difference?

“Rhinestone Eyes” – A great beat is lost on Albarn’s sweet voice. The beat tries to draw Albarn into a hook that never comes. The song goes nowhere. It’s a shame because its got mad potential.

“Stylo” f/Bobby Womack and Mos Def – Mos Def does what he can with what he is given.

“Superfast Jellyfish” f/Gruff Rhys and De La Soul – De La Soul? Seriously. When is the last time they’ve done anything? They don’t necessarily drop the ball–but its a good thing that Gruff Rhys (lead singer of Super Furry Animals) is along to save the song.

“Empire Ants” f/Little Dragon – Painfully slow. Albarn does find a way to suck you in. A great song to put on when going to bed and in need of sweet dreams.

“Glitter Freeze f/Mark E. Smith – A great electro track that belonged on the last Prodigy album.

“Some Kind of Nature” f/Lou Reed – Albarn obviously digs Lou Reed. I’m glad someone does because this is a waste.

“On Meloncholy Hill” – No Blur fan will be surprised to hear Albarn heading back to the ’80s and mining for gold. This could have been held for a future Blur release.

“Broken” – This sounds like it came from a William Orbit production. The music is fantastic and could have survived on its own without Albarn–in fact it may have been better without vocals.

“Sweepstakes” f/Mos Def and Hypnotic Brass Ensemble – Usually Mos Def is on. Well the lights are out.

“Plastic Beach” f/Mick Jones and Paul Simonon – Getting the former Clash members together probably sounded great on paper–but where are they?

“To Binge” f/Little Dragon – Skip.

“Cloud of Unknowing” f/Bobby Womack and sinfonia ViVA – Skip this one too.

“Pirate Jet” – B-Side at best.

Frankly:
Damon Albarn had the world in the palm of his hands with the original Gorillaz album. At the time they sounded and seemed quite revolutionary. Now they are like watching Star Wars and then watching Avatar. The music hasn’t moved and Albarn seems to be quite content with a motley crew of near has-beens.