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Released October 2009 by Universal

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On their second English language studio album German band Tokio Hotel aim directly at their teen audience. Lead singer Bill Kaulitz has a melancholic voice that gives a darkly emotional undercurrent to any song he chooses to sing. There is significant sci-fi imagery presumably aimed at drawing in a male audience, while the band's looks and vulnerability will surely attract a cadre of female fans.

At times it all works well, but there are too many points where it feels like Tokio Hotel are just aping others in their efforts to be the teen favorite of the moment.

Borrows Heavily from Styles of Other Artists

There are plenty of echoes of other artists to go around here. Lead single "Automatic" uses washes of auto-tune effects that sound ripped from the latest hip hop pop in the US. With its bubbling keyboards, "Dogs Unleashed" would not sound out of place among early 80's new wave pop acts. "Hey You" has a late 80's hair metal thump, and the swagger of "Human Connect to Human" is a close cousin to Depeche Mode's "Personal Jesus." All of these borrowed elements lend a vaguely familiar sound to Humanoid that, at the same time, sounds faceless and disposable.

When Tokio Hotel Gets Under Your Skin

There are moments in which Tokio Hotel does connect and can get under your skin. Bill Kaulitz' voice is easily the most distinctive element of Tokio Hotel's music, and, particularly on the slower, reflective songs, you do begin to feel something.

"World Behind My Wall" has a gloomy anthemic beauty that still manages a hopeful, emotional breakthrough. Kaulitz' vocal anguish on "The Pain of Love" is engaging as well. A simple arrangement wisely takes a backseat to the singalong lyrics. The straightforward message of joining together for emotional salvation on "Zoom Into Me" closes the album with aching grace.

Top Tracks on 'Humanoid'

• "Automatic"
• "World Behind My Love"
• "Pain of Love"
• "Zoom Into Me"

Holding Pattern for Tokio Hotel

Ultimately Humanoid counts as primarily a holding pattern for Tokio Hotel. There are points in which the band dips into darker, heavier emotion than in the past, but the album seems too preoccupied with assuring widespread teen acceptance to truly explore the touched upon topics and concepts. Bill Kaulitz is in fine voice here, and the band provides competent support. However, Tokio Hotel will need to dig deeper and explore their own uniqueness if they hope to endure and carve out a place in the pop music world beyond being the latest teen rock flavor of the moment.