The sonic evolution of the group is remarkable, and the dark, introspective lyrics of Sykes will not only be cathartic for him, but for many.

Jimmy Eat World have not just changed the game - they continue to reinvent and redevelop it entirely, each and every time.

Certainly, this is the band's greatest overall work since Recipe For Hate. It's tightly condensed, compellingly charming and whipsmart storytelling.

Upon repeat listens, there's not one point of Halcyon Digest that feels like it was overly thought out.

Truth be told, finding a clunker on the second half is a tall order and that simple fact is what makes History of Modern so rewarding.

The Big Deep shows that The Sleeping will not be pigeonholed into one genre, and the track that best sums this up is final track (and lead single) "Young Vibes...Don't Run Away From Me." Still full of the urgency you've come to expect from The Sleeping, but it also incorporates all the progress shown throughout the album, thus creating a nice balance between the old and new.

The production from song to song remains strong, but many of the tracks tend to blur together on repeated listens.

Though You Get What You Give is not their strongest offering to date, it certainly points to a most promising future. And that in and of itself is probably all the music world really needs.

John Legend and The Roots have followed the most important rules when covering material from other artists: you need to keep that signature sound that made the original important, while also adding that something special to make it your own.

Hurley is a reminder of why we fell in love with Weezer in the first place--the power-pop anthems, grungy rock songs, the gawd-awful yet quirky lyrics--it's all here.

While Flowers is a bit more reserved in his solo outing, Flamingo still retains a bit the thematic charm of a typical Killers album.

In essence, A Thousand Suns is a record with no real character or substance.

In the end, Plant sounds more comfortable in this genre than he has on any of his past solo albums.

What draws me most to Lisbon is the exciting reinventions on the band's own formula.

It's fairly apparent throughout the album that Anberlin was definitely in their element, as Dark Is The Way, Light Is A Place is exactly what mainstream music needed: a challenging and engaging rock and roll album anyone can relate to. Their songwriting and musicianship have never been better.

Even though I'm sad this record has left no lasting effect, I'm also happy that it might mean my life is heading somewhere positive.

Aside from some quirky song titles, there's little about Land of Talk that's abnormal. In the end, they're just solid all the way around.

Though he's reluctant to vary his sound, the end results are far too magnetic, far too majestic and far too masterful to even allow a twinge of disappointment.

It was obvious the writing for this album was at its earlier stages when Camu passed away, but the production does a very good job of making up for the low quality of the vocals. Fortunately, Camu's fantastic voice still breaks through. I love distorted, uneven recordings, but fans of cleaner audio work may be put off by the album's overall quality.

Though it is lengthy and a lot to sit through--more than 70 minutes of music--there seems little reason to think this won't catapult Arcade Fire to even greater heights.

Trill O.G. is a decidedly clashing album. Bun B's old school tendencies are constantly at odds with genre conventions prevalent in today's scene. Sometimes that works, and sometimes it doesn't.

Sure she's unconventional, a bit puzzling but in the end she is undeniably rewarding and compelling. Hell, come to think of it, Hunting My Dress might be one of 2010's most pleasant surprises.

Basically, Fortress will surprise some and maybe even anger others. But with the right Feel Good mindset, it can be a wonderful journey through the mind of some a.) interesting people or b.) interestingly intoxicated people. Plus, there are boobs on the cover.

Though there is a good chunk of filler ("Wesley," "Target Heart," "Go On," "The Game,") the memorable songs mark this disc as something worth purchasing and something worth coming back to.

I mean, the guys have packed Streets of Gold with mindless, completely clustered romps through nothingness.

The album is a perfect mixture of the band's first two records, blended with an equal part of their rock swagger and part their post-electro swing.

Known as much for their rambunctiousness as their literate ways, Steel Train have managed to take all the hallmarks of their sound but pushed them even farther. And yet never once is their sound compromised.

To put it simply, Eminem is back. There are some truly essential songs on Recovery, and even the weak tracks are an improvement from the debacle that was Relapse.

The Five Ghosts is the band's most consistent album yet, and their best since 2005's "Set Yourself On Fire."

It's the ambiguity of styles, the insistence on bringing the listener along for a journey, that makes Total Life Forever such an endlessly interesting statement.

American Slang takes the best of what the band has shown they can do, and moves it into early '60's Motown, combining it with a rich Springsteen/Strummer sound (which is just how Fallon will always be; it works for him, get over it) over a soulful rhythm section, with sprinkles of Sam Cooke, Otis Redding and Smokey Robinson in there for good measure.

With its laid-back atmosphere and relevant lyricism, Thank Me Later is a hip-hop album that successfully balances commercialism with art.

Trash Talk have stepped up with their new album. While many are still getting turned on by the word of mouth of the band's live outlet of aggressive showmanship, Eyes and Nines also shows that heart shouldn't be lost on the idea of moving forward as an artist.

The surprise is in just how much White Crosses succeeds at blurring the dividing line between punk rock ethos and boistrous radio rock.

Unfortunately, the album delivers nothing remotely as snappy as Furr's more immediate sonic treats and there are only a scant few moments when it seems to aim at serving up anything more than your garden variety folk-rock songs.

While sticking to his A-game has served him well so far, it's worth noting that the songs themselves just aren't quite as resonant this time out, resulting in an album that's merely very good instead of incredible.

Like its predecessor, Pigeons is also delicate, but it does much more than shimmer and sound pretty. The rhythm section takes a huge step forward, the arrangements are more varied and robust, and there are countless actual hooks.

Champ as a whole isn't the most coherent album I've ever heard, and a maturing sound isn't the easiest thing to develop and capture on a record.

Forceful is just what is capturing about Treats. It is what makes it so hardcore to the bone. Miller puts together gritty guitar licks and hammering beats worthy of an opening slot with Ghengis Tron in my eyes and matches it to the beautiful, yet aggressive sound of Krauss' mouth.

Unbridled youthful vigor may now be but a distant speck in The Futureheads' rearview, but the joy of pop music still rings through in their every note.

Big guitars, big hooks, and JT Woodruff's best vocal performance yet.

As a complete work, Stone Temple Pilots is sturdy and probably more surprising for the fact that it was ever made than for its actual contents.

Truth be told, it never feels completely on-target, however it's hardly inept - just a touch disjointed. For every minor imperfection, listeners are rewarded with boosts of adrenaline from the bludgeoning opening track "Deafening" and breakneck "Dear Enemy."

Brothers is a rock and roll takeover, as The Black Keys flex their muscles and make their presence known towards all imitators. The variety between tempos, melodies, and genres will keep you coming back to this record.

All the band's elements coalesce in a remarkably cohesive way to elicit the desired moods.

Chaplin, Rice-Oxley and drummer Richard Hughes, chased down something different while still remaining true to their former records. Not only does it work, it provides a valuable lesson for bands that are far too afraid of taking risks.

Not only is The Powerless Rise As I Lay Dying’s heaviest album to date, it also features a splendor not heard on past releases.

If you dig songs with twang, Here's to Taking It Easy is as tuneful and affecting a set of them as you're likely to come across.

With Heaven is Whenever, the most consistent band in rock and roll remains reliable, as The Hold Steady give their sound a fresh update while not straying too far from what makes them so endearing.

Diamond Eyes is full of layers and dimensions, making it an auditory treat that listeners will want to continue to indulge themselves in. This is an album you can blast from my car stereo and then later dissect through headphones.

The album is something of a rollercoaster of musical styles, songwriting approaches and emotions. But most importantly, transcending it all, is Ritter's astounding power to make us hang on every word.

Omni is accessible yet not watered down; complex and engaging all at once. Its catchy and progressive elements will surely dig its way into your cerebellum.

As a whole, Bullet show absolutely no progression on Fever, despite this being their third album.

Plain and simple, Trans-Continental Hustle is a decent album that seems to rest on the band's multi-national roots and Hutz's Balkan growling to accomplish its goal. And while it's certainly an engaging and inspired exercise, the disc grows awfully weary after about a half-dozen songs.

Guest appearances on any type of album usually generates some negativity but the ones on Adventures really shine and freshen it up a bit.

There's certainly enough passion in Blue Sky Noise to show the masses where rock and roll and great songwriting can meet in a traditional compromise that everyone can enjoy.

They accomplished their mission. They made a record that doesn't have one radio hit, let alone a single and yet is stronger than their previous efforts.

The Dark Leaves is no less unassuming than anything else they've released, and about half of it is squarely in line with the material on their recent albums.

With The Wild Hunt, Swedish maestro Kristian Matsson once again constructs lively, emotional pieces with nothing more than his strangely authentic Southern drawl and nimble fingers. The lyrics are beyond superb.

It doesn't take a biological science major to realize that this album is very well worth listening to regardless of whether you're a seasoned veteran of The Amory Wars storyline or you've never even heard of Coheed & Cambria.

While there is some filler, some of the best Cancer Bats songs can be found here and that alone makes this worth checking out, even if it isn’t a gigantic departure.

Now the experimentation with electric guitars, even more electronic sampling and a focus on vocalist Becky Jacobs has brought Tunng to a paradise of exceeded expectations.

The point is, there's nothing not to like about Shame, Shame unless you're looking for some inscrutable puzzle to solve. However, if you want something you can just sit back and soak up, well, missing this album would be the real shame.

With serenity so hard to come by, an album like Down the Way is all the more satisfying.

In the end, Volume Two is a showcase of Deschanel’s and Ward’s best traits--Ward’s production and composition and Deschanel’s intelligence and magnetism.

That we're still able to observe the funloving side of the band while also getting to see that there's more to them than that is what makes Two Thousand and Ten Injuries such a charmer. That their compositions sound more precisely constructed and flat-out better this time out doesn't hurt either.

Right from the start with opener "Lion Face Boy", Seabear bring you in and captivate you for the entirety of We Built A Fire.

Plastic Beach is a full blown hip-hop/trip-hop album and a prime example of how to stray away from one genre to dominate another. If Albarn has done anything with this project, he has shown his knowledge of flawless production and the ability to create aesthetically pleasing tunes.

Typically the band can be found tiptoeing the edge of shameless, binge-drinking punk rock ("Titus Andronicus Forever"). It's better when they're loud, I think, because it makes Stickles' doubt seem more immediate, like there's a time limit to his sanity.

The Brutalist Bricks sounds nothing like that at all. Ted Leo is still very much in his prime, and Bricks is as relevant (and as great) a record as you'll hear in 2010.

The end result is this expertly-crafted, inoffensive, hook-laden pop. Though it gets a bit silly in places, the core of this disc is far too good to pass up.

It's musically complex and ambitious, but flashes of powerpop shine through, making this Aloha's hookiest effort to date. Its pop aspect is more nocturnal than sunny, though, with its colors showing subtly vivid in the twilight.

It's not extraordinarily original, but they do a masterful job at piecing together classic pop elements in an incredibly thoughtful and enjoyable way, crafting an album that's sure to please indie snobs, pop purists and, well, anyone else who might be listening.

While armfuls of musicians can sing songs and sound entirely forced, insincere and phony, Potts is blessed in that every word he sings sounds authentic, honest and direct. In a musical landscape chock full of Auto-Tune and feigned emotion, a disc like this is certainly something to champion.

This Addiction promises exactly what the title describes, as most older fans will eat this up.

Walker has truly outdone himself with an album that captures all the nuances that made "Letters And Meadows" shine, and extracts them bit by bit to give every individual track its own breath.

Tapestry of Webs makes the band's debut EP seem like forgotten practice demos. Across the board, the album displays acts of jazz, salsa and anti-post-pop (if that's a word), and it all leaves the listener coming back for more.

The band has sprinted forward and earned an Olympic title of the "P" word. I Was Trying to Describe You To Someone is going to turn heads and only gain more respect and fans in the process.

Transformative, entrancing and wholly confident, Sigh No More is head and shoulders above the competition.

While Story of the Year won't win any originality awards any time soon, they definitely still know how to bring a party to your speakers.

The album has the feel of a stopping-off point of sorts for a band an evolutionary path, headed toward an even higher level of greatness.

Their ventures paid off supremely, as One Life Stand is an enjoyable and captivating listen on every level.

If I lived completely under a rock, I'd say Screamworks, and HIM in general, would hit Twilight tweeners straight in the heart with its dark, dismal and dire themes, but the more mature crowd would see the excessive sentimentality as almost self-parodying.

Gossamer. That's the best way to describe the new album by The Watson Twins. Like strings of gossamer and gauze, Talking To You, Talking To Me is a supple, soothing effort that's relaxed, reflective and decidedly old-school.

Though the disc starts off unhurried and threatens to dawdle, the gentle lilt of "Goodbye to the Ground," makes for one of Moorer's most creative efforts to date.

Phantogram have put forth a collection of heady and stimulating songs primed for in-the-dark listening.

Like most of the record, it's slow to mid-tempo, but pushed forward by quick acoustic strums, and it builds up slowly to a huge rise with the type of sly hook that's all to rare on the set.

Eighties punk enthusiasts with a taste for hip modern bands like Japandroids, Tapes 'n Tapes and (the late) Jay Reatard, or hell, anyone who can appreciate spirited rock music delivered with verve, should find The Soft Pack to be a delightful and exciting listen.

In comparison with the current post-rock landscape, it's largely uninteresting, but in creating a palatable easy-listening experience, it's a definite success. Like its predecessors, though, this is one story that's probably best told at bedtime.

Musically, it's pretty much vintage Zombie-- relatively catchy metal with the occasional industrial vibe.

Overall, it's a palatable mix of retro-leaning metal that's suitable for headbanging or playing air-guitar but doesn't cover much new ground.

Almost Everything is a triumphant, forward-thinking and near perfect effort. With a disc this good, the piano-pop genre just might have its new hero.

While unquestionably delivering more of the goods fans are sure to get excited about, on their new record, Los Campesinos! also prove they aren't one-trick ponies, boasting some welcome musical and conceptual range.

2008's critically lauded "Devotion" set the band on a new path, landing them an opening spot for buzz band Grizzly Bear and winning the hearts of hipsters the world over. Teen Dream, however, takes things to a whole new level.

What Is Love? is a very enjoyable record and a lot better than what I expected. Christofer Drew has given his listeners a taste of his potential, because, musically, he knows what he is doing.

As you might imagine, it's yet another interpretation of classic surf-rock, but as crowded as this scene seems to have gotten lately, most of its practitioners do the style quite well. Surfer Blood are no exception, and their varied approach makes for an intriguing album.

The decision not to focus on immediate pop hooks is really a blessing, though, as this album showcases Spoon at their loosest and most diverse.