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.