3.5 stars actually...Let's all just take a deep breath
597941
Yeah, all right, let's all come down for a minute. Anyone who thinks that The Germs were the best punk band ever, kindly shut your mouth.  That's a complete and utter insult to bands like the Clash, Bad Brains, Bad Religion, and NoFX, bands with much more talent, much better style and lyricism and bands who helped shape and define punk much more significantly than The Germs did. I think people become too obsessed with the band's image, that they were these anarchistic drug fiends who could barely play their instruments, that they were these social outcasts who defined everything that was considered "punk" and "punk behavior" at the time.  People develop a cult-like obsession with this image and consciously (or subconsciously) overlook the fact that this band really didn't write many great songs, that they were maybe too out-of-control and whiny for their own (or anyone's) good, that they were too incoherent and sloppy to actually merit such praise from the punk rock world. This band was overrated and while they had a fascinating and illustrious history in the midst of the hardcore punk scene on the West Coast, it didn't make up for the fact that this band just wasn't nearly as good as a lot of these reviews would like you to believe. Let's take a deep breath and put them in perspective for christ's sake...

Don't get me wrong, some of their songs are punk classics and this IS an essentail record for any punk rock fan (especially fans of hardcore punk).  "Lexicon Devil" "Forming" "What We Do Is Secret" and "We Must Bleed" are just a few of the amazing songs on this CD.  But again these great tunes are slightly overshadowed by some poor poor tracks, especially "Shut Down" which has the potential to be such an awesome song but is ruined by Crash's unnecessary snarling and screaming (which occurs on several other songs as well). Basically, this band is for a select few only (namely punk rock fans).  Otherwise, you should probably give this and other bands like them (Minor Threat, Husker Du, The Fear, etc.) a listen before you decide whether this genre and this band are for you.  RIP Darby
3100964
(I'd give this one 3.5 Stars, if only it were possible)
Diana Harrison's novel "The Keeper's Curse" creates a world so unusual, there's no way to describe it adequately in a review, but I shall endeavor to give you the short version.

*deep breath*
Emmy Rathers is fifteen-years-old, and thinks her parents are overprotective of her. So, she has to sneak out at night. One night, she gets back to her room without being busted. She goes downstairs for a drink of water, surprises a burglar, then the living-room goes all poltergeisty, with whirling winds and stuff flying around, chasing the burglar from the house. Emmy's mom comes downstairs, sees what's happening, and tells Emmy to pack, that they're leaving in five minutes, and that she'll never see this world or her father again.

Emmy packs her suitcase. Her mom leads her to a secret passage in the house. At the end is a sort of glowing snow-globe thing. Emmy and her mom grab it, and whoooooosh, they are sucked into the ball, and end up on an orb called "Methelwood." Emmy's mom scraps with some security goons, who throw her in jail. Emmy finds refuge with friends of her mom's, with whom her elder brother has been living the past five years. (Emmy's parents had told her her brother was away at boarding school, which isn't really that much of a lie, it turns out)

So there are dozens of these orbs, which share a common hub, called Ministrial. Each one is a little world unto itself. The kids at Emmy's school--Urquhart Institute--are trained in one or more supernatural skillsets--Superman-like speed and strength; flight; the ability to control people's wills, etc. There's one kid in school named Breckin, and he has all of the powers. When he comes of age, he'll basically be running all of the orbs. When he was 12, his mom performed a ritual where his soul was transferred to another person for safekeeping (since he's so powerful, bad sorts would be trying to kill him). As it happens, his soul ended up inside an 11-year-old girl who lived on Earth. Her name? Yup. Our Emmy.

Emmy makes friends at her new school, and grows closer to Breckin. There's a complete jerk named Cyril Crow, who is Breckin's sworn enemy. But...well, it's complicated.

One night, during a Methelwood dance, all sorts of hell breaks loose, and Emmy and her friends find themselves fighting for their lives.

"The Keeper's Curse" is a good book, full of unique mythologies fused with standard teenagers. In fact, the worlds and mythologies are so detailed, that it was hard sometimes to keep everything and everyone straight. There were some funny interactions between the teenaged characters, and a curious love triangle. Actually, if you consider all the factors, it could actually be a love rhombus, or a love pentagon, for that matter.

It's a complicated romantic ensnarement. We'll leave it there.

There are many complicated situations in "The Keeper's Curse." Indeed, if I had to find one fault with this book, it's that it feels like it overreaches, that it tries to do too much within the framework of a YA-Fantasy/YA-Paranormal novel. It sort of bogged down the story at times.

While I like this quirky world Diana Harrison created, I think the truest, most compelling parts of the story dealt with how Emmy finds herself caught between two boys who are enemies. Neither of them can understand how Emmy can tolerate the other. In a world where teenagers have spectacular powers, perhaps the most formidable power of all belongs to Emmy, as she negotiates that dual-boy minefield--not to mention the bruised egos and petty squabbles among her other friends.

Like everyone else, Emmy has her share of human faults. In the end, it is her normal, non-superpower-enriched human heart--her willingness to take a chance and love--that ultimately makes "The Keeper's Curse" such a satisfying read.
2769748
.....than you will really like this. I don't want to knock it, because it is really OK as a 'deep cut' release. At least it is not 'overly commerical.' But like early Small Faces they try to sound 'soulful' but are missing the melody. While not overly commerical, they seem to try too hard for that.....
3854192
I did like this album, considering my 4 star rating, but it's the first album of theirs I would risk calling "disappointing", ONLY compared to all of the six albums they put out beforehand.
  It felt like I'd already heard most of these songs, and that they were below par, but only below Led Zeppelin's par... that's still quite a long climb to get to that height.  What I can say most definitely about Presence is that, and I say this somewhat stunned, is that I can't remember how most of the songs go, except for the first song, Achilles Last Stand.  I can see why some have praised Nobody's Fault But Mine, but I felt it didn't stand up with the best of their music.
  Still, quite a good album, despite the pressures the four of them were placed under during the making of this album.  It was recorded under much haste, Robert Plant was recovering from physical injuries, and forgive me if I'm wrong, but I also think his son passed away not much earlier.  It was hard for me to see any significance of this album because of the gigantic effort they displayed those few and brief years before, but if I compared it to anything else modern, it's significance would grow.
464147
It's getting harder and harder to listen to modern music. I think there may have been a great album here but the compression does grate and they could have trimmed a song or two. Tiny Music was their last masterpiece and their only one besides Purple. They have kind of just wandered since then imo. I like their other albums but they increasingly mix and master them into samey sounding distortion at times. I think a couple of the tracks here are definitely great and if it were properly mastered it might sound even better.

The opener Between The Lines is pretty good for an old band. IDK it's all subjective. I don't mind this just wish it were treated with more care. Dare If You Dare if damn fine song as well is Bagman and a couple others. Bagman has that total 70s vibe that they were going for with this record. Nothing really bad here it's actually pretty solid. Just don't quite dig it like I dig my favorite two.
3141411
I'm a long time Rob Zombie fan and all around metal head. I don't dislike this album at all. But that's exactly the feeling I've had now that I've given it a few listens.

The biggest issue I had with it, is that it just felt too short. I think some of the songs could have been longer they just aren't telling the story they are trying to tell because they aren't given the time to breath.

The album starts and finishes great, but somewhere in the middle things seem to blur together. Basically this was a rather bland album, it needed another dead city radio, or something to change it up in the middle, or perhaps slow it down a little in the middle like something from educated horses. "We're an American Band" did this to a degree, I don't really think that songs special (the original) but I must say Rob put a great spin on it and I think actually made the song better by going heavier with it.

This all said I was NOT hoping for another Hellbilly deluxe re-mix or re-do, like I'm sure some people were, and I think this album is worth getting, I just would recommend not having the highest of expectations. I do have hopes that this will be like educated horses, an album I had tepid feelings about originally but do listen to on occasion.

Final thought, the actual musician-ship of this album and production are flawless, the whole band just dominates, I really hope that we get a new album ASAP!!!!
3767372
Not sure I like writing this, as I've always been quite the fan of Take That, with or without Robbie. Now, with Jason gone also, the three-piece needed to pull something special out of the bag. I sat down with some friends, listened through the whole album and at the end, we all looked at one another, took a deep breath, and almost simultaneously uttered ...

"It's OK"

I'm sorry, but it just lumbers along, never really going anywhere, wakes up briefly for the "quite good", "I like it", then goes back to sleep.

Here for me is the problem (and a purely subjective viewpoint) - the tracks (some produced by the same producers as Lily Allen, Katy Perry and Miley Cyrus) could have been recorded by anyone. Even Stuart Price (who produced their excellent last album) doesn't put much of a stamp on this.

So, for me, it's a miss. I'd like to think they still have a bit more invention left, and wait with anticipation for the next album.
1909979
It's more like a 3.5-star CD (and I'm a huge, huge Nirvana fan, for the record). However, I feel like I have to do a little something to counteract all of the pointless 1-star reviews of the album. I have a piece of serious advice for those of you who bought this album because of the hype and found that it just didn't meet expectations -- go buy "Bleach," "In Utero," or even "Unplugged." All three of those albums are much better than "Nevermind," and maybe you'll find that you like them better. Don't dismiss Nirvana just because their most mediocre release happens to be the one that everyone picked up on and tells you you should buy. As for those of you who have never even listened to the album and just have fun tearing down Nirvana because you believe other bands are better -- well, you're stupid and you need to get lives, or at least start listening to CDs before you review them. Particularly you, AFI K or whatever.
Now, on the actual CD -- it's consistent mediocrity, which can be good or bad. It's consistent in that there are truly no bad songs on the album, and there aren't many albums that can hold that claim. But it is mediocre. There are a few standout tracks, such as of course "Smells Like Teen Spirit," "Lithium," and "Come As You Are." Personally, I find "Polly" to be one of the album's best moments -- the music is nothing complicated, but there's something to be said for simplicity in the music that doesn't detract from the poignancy of the lyrics. Most of the tracks are based on a poppy hook, which turns some people off (to those people I say I'm sorry you can't appreciate catchy, enjoyable music). But the fact is, the guitar parts here are not difficult, and while Kurt Cobain is a great lyricist, the lyrics here are not as good as on "In Utero."
To tell you the truth, I think the reason this album is different from the others is that it is not completely Kurt Cobain's show. This album marked the arrival of one of the true great musicians of our time -- Dave Grohl. His amazing drumming is the proponent of this album. Without him, the album simply would not have been very good.
In conclusion, "Nevermind" is a pleasant listen, and it deserves credit for reviving good music, but it is not the band's best work by far. People need to stop going to the extreme with it -- it's not the best album of all time, and it's not the biggest piece of garbage of all time. Come on -- for it to be the worst album of all time, it would have to be worse than anything by Britney Spears. If you think a Nirvana album is worse than a Britney Spears album, you don't deserve to be reviewing music.
64157
4.5/5 would be what I want to give the record.

TBEITBN is really interesting, I'd venture to say it is a concept record following the narrative of two people and how the war/dark/vast struggle affects their relationship. Very heavy in tones. It does feel a tad rushed in some parts, the songs don't have the space to breathe that I would like, but man it grooves. Some of the lyrics are much more up front than I am used to for a Thrice record, but honestly that fits the urgency of the narrative. What those tracks lack in density of language they more than make up for in passion and raw emotion, I think this may even be Dustin's most visceral and believable vocal performance to date. Not nearly as political as I feared it would be, there is only one political track in addition to the 3 that were previously released, so 4 of 11. Also, it is worth mentioning that all the tracks fit better as a whole, rather than listened to individually. Each song starts where the previous left off. Even the first track begins where the last ended, creating a cyclical, eternal record. Seasoned Thrice listeners will also notice at least half a dozen references to the lyrics of songs in their back catalogue, which brings a new dimension to the whole ordeal that first time listeners would not pick up on.

Favorites: Black Honey, Salt and Shadow, The Window, Wake Up, Hurricane.

Least Favorite: Whistleblower.

Biggest Headscratcher: Stay With Me. The soaring peak of the chorus is annoyingly pop-esque, so much so that it makes me want to hate the track, however the verses are intoxicating and the lyrics add an interesting dynamic to the overall narrative.
1449235
3 - "It'll get better." Stars!

Just a Girl isn't my first read by Ellie Cahill, and although I enjoyed it more than her previous Loveswept offering; Call Me Maybe I was still left with the feeling that something was missing from the overall story.

I think the main problem I have is that nothing and no-one really stood out for me, the story between Presley and Paul had a really good base, but I just don't think the author really offered enough expansion on anything. The first 90% was very Shades of Grey a little monotonous and lacking in any real depth of emotion from either of them really, being such a short read it wasn't a struggle in that I got to that point in relative quick time, but I would attribute to that the fact that a large part of the book also takes place in the form of texts and tweets, so the page turnover was pretty quick.

"If you can get on that stage, so can I."

Presley is kicked out of her up and coming band; Luminous 6 basically because they think she gets too much attention and they would be better off without her, which is even more of a kick in the teeth, when you take into account her on-again, off-again boyfriend is still very much a part of the group. This compels her to return home from the bright lights of LA, and move back in with her parents as well as start back to work in their music shop The Continental. Apart from the obvious peeve at being dumped by her band so unceremoniously, I had to question her actions because it was mentioned more than once that she had been offered several solo deals, in my head I am asking 'why not take one up' seeing as she didn't particularly want to be back home either.

"Dont you hate it when that happens?"

My other gripe is her whole relationship with Paul, they literally seem to fall on each other like a couple of rabid dogs without any time taken to get to know the other. The efforts throughout the book to get to know them further as individuals were pretty slim as well over and above the issues Paul have with performance anxiety (playing guitar, and not sexy times wise) and Presley pretty much dry humping him like a dog when they aren't actually humping. You are given very little depth or emotional attachment between them until it all falls apart in the latter stages.

"Im not just here for you to snap your fingers and decide its okay now."

As I said Just a Girl wasn't a struggle, but I know it won't be one I remember too clearly a few months down the road. This author has skill and can put a decent story together, with this one I think more development and added page count into this couple actually getting to know each other rather than all the drama that surrounds them from the off would have helped.

"I choose you."

ARC generously provided via Netgalley, in exchange for the above honest review.
1301778
I would've given this a 4 if so many people hadn't given it a 5 already...but this is NOT the best album of the year.  I'm kinda stuck in a  rut, I can't decide if I agree with those of you who say it's totally  rip-off clone or not.  Anyway, I don't think this album is bad.  There are  lots of catchy hooks and all.  I think for sure if you like bands like  Soundgarden, Pantera, Metallica, Rage Against the Machine, & the like,  you'll like this album, & won't care if it sounds like them, cuz at  times they sound reminiscent of all those bands.  I really don't care on  his repetitive lyrics, cuz when I'm in a bad mood, I feel the same way, so  this is 1 of those mood cd's for me.  If anything musically stands out, I  think the drummer is what keeps this band together, cuz if not, I think  this album would be mediocre...but that's just me.  The opening track  pretty much defines how the rest of the album will sound, & the radio  songs are still my favorites.  The last track is strikingly modal &  different, & catchy at the same time.  So, I would say hear for  yourself before buying this.
3513157
I don't fully get the "throwback" tag that so many people seem to apply to this album. Yes, this album is a rocker, and some of REMs other albums have been rockers, but I really feel like Accelerate could only have come out of the times we're in. 80% of the Americans think this country is on the wrong track and the rest of the world had lost a great deal of the respect they once had for us. What better way to deal with it than to turn up the volume and rock!?! And where past REM rockers have still noodled around a little, these songs start fast, get to the point, and drive it home with hardly a wasted motion.

Just like the tongue-in-cheek pop of "Shiny Happy People" and the angsty drama of "Everybody Hurts" were ideally suited to the national mood at the closing of the Reagan-Bush era, I feel like the loud and fast songs on Accelerate are perfect for the end of this disastrous Bush II administration. They seem to scream, "hurry up and get this sh** over with!"

While they may have missed the national pulse with their last few albums, I feel like Accelerate really hits home. Like most artists, REM seems to produce their best work when times are tough. If anything, I'd like to hear them play even louder and faster--maybe they could somehow speed up time until January 2009.
986117
I am neurotic. I really want to give this less than three stars but above two-and-a-half. I don't mean to nitpick, but something about this album makes it worthy, and on the other hand doesn't make it worthy. Of course I review this album objectively. Personally I don't care for it much (although I still like it enough to keep it around). If you've seen the way I do other reviews you know I cover all albums by a band in one review (saves tons of time and really there is no need to do otherwise). But concerning this particular band, I have only heard "Salvation" all the way through. I never waste my time reviewing something I hate (pretty much anything on the radio)because the fans of maroon five will be fans no matter what-and that's fine. But I chose to review this band so the potential buyer knows it's not quite worth the hype. I do this because COL have been getting a lot of press (underground of course) in magazines, etc. Now obviously since reading about this band, you know to expect something different, melodic, and experimental (but you also know it's heavy b/c the band has had huge articles/interviews in metal mags). So you know you're not getting some death metal album. My guess is you're thinking Radiohead meets heavy metal. Sounds sweet right? Well, I think in putting the band in this category of something new and experimental (even though Neurosis was doing similar things earlier), they lose some musical credibility. When, listening to COL you expect to hear a lot of soundscapes, effetcs, programming and just overall interesting sound engineering. Maybe something like Incubus's new stuff. But the thing is, Mike Eizenger can pull it off and make it innovative (cuz he's a [...]). They have two guitar players, keyboard player, and a guy who just does like programming/samples and stuff like that. They hardly use any of these members for anything worthwhile. The slow, supposedly innovative, experimental side of their music is extremely simplistic and lethargic in it's approach. It's redundant and abuses its time extension. The heavy side is doom-ladden and repetitive. The production is clear, but the eq and effects makes the guitars and aural soundscapes somewhat dirty and buried under mirk. It's almost is if they tried to make that album I mentioned but fell a bit short. However the heavy parts are catchy and the eq makes it interesting. I find Isis more interesting as something similar musically. Good, but not worth all the new attention.
2835096
Four years was probably too long between albums. Since playing their last CD, the excellent "The Moon and Antarctica" to death, a new album from MM was highly anticipated in my household. The mediocre filler EP, "Everywhere and His Nasty Parlour Tricks" was unmemorable at best, and the side project Ugly Cassanova was interesting, but not overwhelming. And a remastered version of "Moon" is simply inexplicable, so I have avoided it.

I have finally just picked up the new MM after being won over by the pair of singles, "Float On" & "Ocean Breathes Salty". The first 3 tracks sound strong, but I am sorry to say that in my estimation they are the best tracks on the album.

This album as a whole is marred by some of singer/chief songwriter Isaac Brock's weakest songwriting, with "Bury Me With It" & the sub-Tom Waits "Devil's Workday" being the low points, with awkward phrasing & a lurching melody on the former and trite lyrics & worn out structure on the latter. The last few tracks on the album seem merely tired, especially the closer, "The Good Times Are Killing Me." This isn't anything we haven't heard from MM before, and better the first time around.

Brock mostly seems taken by the production end of things here, as he seemed to on the Ugly Cassanova album, which seems now like a template for much of "Good News". As such, it's a good-sounding disc with some subtle production touches and features the broadest instrumentation on any MM album, featuring horns, synths, and whistles & strings (effectively used on the gentle opening track, "The World at Large").

Lyrically, Brock seems lost inside his own mind, turning his generally bleak worldview inward, with the title of the last track speaking to the need for change. I hope that he gets it together on the next release.

Consistency has never been MM's strong point, and they have always had a tendency to overstuff their albums, but I would still opt for "The Moon & Antarctica" for a more all-around example of the MM sound, and "The Lonesome Crowded West" for their best individual songs and spazzy sound.

Admittedly, I this review is based on my initial impressions, but I feel that they are capable of better. Though I would more acurately place this album closer to 2 stars based on enjoyment, it receives 3 stars due to my affection for the band.
553107
This is not the Whitney Houston most of the world had come to adore in the 1980s and pre-Bobby Brown, let's be honest about that. However, this is a new voice of a woman who has gone through hell and back. She has endured and has entered a new phase of her life and career...and she does well enough with I LOOK TO YOU. No, she doesn't sound the same as she did on "The Bodyguard" or "Waiting To Exhale" soundtracks, but you definitely know it is Whitney and she sounds comfortable in her new register. To those out there saying that she sounds awful and can't sing anymore - you ought to be ashamed of yourselves because you know it just isn't true. THERE IS NOTHING WRONG WITH HER VOICE!! You're making it seem as if she sounds like Macy Gray. Just stop it. We've seen this sort of thing before. Remember Natalie Cole's fall from grace? When people were saying her career was over, she came back strong and shut her naysayers up for good.

Whitney's back on the right track, so PLEASE stop with your tired old hateful comments and show some respect. There are people out there that are quick to forgive a talentless Britney Spears for her drug use or give a pass to Madonna for, amongst the many things that she has done to offend people, publishing a tacky book with nude photos of herself to get the world to pay attention to her. Yet these same folks want to hold on to whatever ill feelings they have for Whitney for her lapse in judgment. What's the REAL deal with that, I wonder.

With that being said, I'll be the first to admit that some of the song selections aren't exactly what I expected. There are some good tunes on I LOOK TO YOU, but my main issue with some of the others is that the songwriting is below par. I don't blame Whitney for this; to me, her voice is still a fine instrument. It's just that some of this material is weak and really not worthy of Whitney's time. For instance, R. Kelly wrote the title cut, "I Look To You" and it's been said that he wrote it years ago especially for Whitney. Supposedly other artists were dying to record it, but Kelly claimed he only wanted Whitney to sing it. Well, you can believe that if you want to. IMO, maybe Kelly SHOULD have let someone else record it instead. It's a slow, lumbering ballad and not even Whitney in her prime could make it sound interesting.

Best cuts are:
"Million Dollar Bill"
"Nothin' But Love"
"Like I Never Left" (Duet with Akon. Heard this song last year when it was leaked over the internet, loved it but I would have preferred for Akon to stay in the background and let Whitney do this alone.)
"A Song For You" (It's the classic song amped up as a club jam - catchy but as a club banger, it lacks the tenderness and the romance of the versions that the Carpenters, Donny Hathaway and the Temptations had.)
"I Didn't Know My Own Strength"
"Worth It" (This reminds of me of Mariah Carey's "We Belong Together".)
"Salute" (Perhaps a goodbye to Bobby? Maybe. But it's quickly becoming my favorite song on this CD)

In short, it's respectable and worth owning. Is it perfect? No. But contrary to what some of these reviews are saying, it's a very decent offering from this legend, this icon who has risen above all the drama in her life to give something back to those who love her. How many of us could do the same if we were in her shoes? Don't call it a comeback, as she says in "Salute", because she never really went anywhere - she's always been here. And I sincerely hope that she stays. Nippy, ignore the haters - we still love you like you never left.

Rating: 3.5 stars
2866691
I heard "You're Not Alone" and "Voices" all over the internet and the radio, and immediately fell in love with the band. However, while there were some impressive songs on this album, there weren't enough of them. The album fell short of my expectations by seemingly throwing a handful of good-but-not-great songs in between a few instant hits. Though it may not be an instant classic in my eyes, I suggest purchasing the album anyhow. It's worth the listen. My personal favorites included  "It's Far Better to Learn" , "Voices", and "You're Not Alone".

My grade distribution/break-down is as follows:

1. It s Far Better to Learn  5/5
2. Sleepers  3/5
3. It s So Simple  3/5
4. Voices  5/5
5. Finding Home  2/5
6. Follow And Feel  3/5
7. Come Close  4/5
8. I Never Wanted To  4/5
9. Collapse  3/5
10. You re Not Alone  5/5
11. Bury Your Head  3/5
12. Some Sense Of Security  2/5

Overall Grade: 42/60  ~3.5 stars
1513860
After the fan favorite "One-X," "Life Starts Now" came as somewhat of a disappointment to some fans. Not everyone enjoyed the new things the group was experimenting with, and I see the same thing happening when I see reviews for this album. The only difference is people are focusing so much on Adam's lyrics and vocals. A lot of the complaints are that the songs sound generic and that Adam seems to have lost his edge. My response is this: you can't expect someone to be that sad all the time. I understand my best music comes when I'm sad or depressed, but I don't want to be in that dark of a mood 24/7 just for the sake of making better music.

The reality of it is this, what made Three Days Grace so amazing in the past was just how deep and relatable the content was. So yes, to a certain extent the group has taken a minor step back in that category. You can't deny that Adam doesn't sound as strong as he has in the past, but isn't this where it gets interesting? Now that he's finally getting rid of some of his demons isn't this where we start to see what he's really made of? And not just that, what about the rest of the group?

Everyone keeps putting so much focus on Adam like he's the entire band. Are we forgetting about Barry, Brad, and Neil? I don't know about you guys, but I've always loved Barry's guitar work. In my opinion whenever I felt Adam's lyrics started getting a little weak on here, that's when I found that the rest of the group started picking up the slack. You can't forget that there's three other members in this band.

I'm even seeing some people go as far as saying they're becoming the new Linkin Park and that's an insult. Linkin Park completely changed their sound and you barely hear anything from Rob, Brad, and Dave in the new albums. So the people spouting that comment need to calm down. This is far from their best work, but in no way is this the equivalent of what Linkin Park is doing now.

With all that said Three Days Grace still came through with a pretty solid album. After my initial listen I was kind of on the fence, but after the fourth or fifth play through I was singing right along with Adam. They experiment with some new elements and for the most part it works. And even though the songs aren't as dark as they have been in the past, there is still some pretty strong material on here.

Honestly my biggest issue with this album is that my favorite songs on here are not only the shortest on the album, but some of their shortest songs period. The other thing is the cover. It just seems really simple and it feels like there wasn't a lot of effort put into it. I mean the cover of "One-X" was pretty simple if you think about it, but it was a perfect reflection of the album's content.

Standout Songs: "Operate," "Misery Loves My Company," "Happiness" & "Expectations"

Overall Score: 8/10 - Three Days Grace is far from the greatest band on earth, but it's the accessibility of their music that makes them so enjoyable. And this album is no different. Whether you're feeling happy, angry, or sad there's a song in their catalog that you can blast and sing along at the top of your lungs. If you're a fan of the group than I would suggest you check this out. Even the weaker cuts have some redeemable quality that makes them worthwhile.