Tarot Classics so efficiently sets to buoyant, energetic music a viewpoint that is not only discontent but increasingly disinterested. And it's all somewhat hidden, because party tunes these can still be.

There's a determination in the undertone of the album. That determination in crafting of a band's best record to date, only covered by the confidence it lets off as well.

Though it is probably not Coldplay's best, it is indeed a memorable listen and another chapter for a band whose place in rock music is firmly cemented.

When Best Intentions closes, the rapid growth of the young band does not go unnoticed at all.

Youth Lagoon will never reproduce anything like The Year of Hibernation. I think in 2011, this is called The Bon Iver Effect. The result of fame is that Powers will never be in this place again. But maybe that's best.

Make no mistake, Indestructible Machine is the sound of promise, the sound of hope and ultimately the sound of something truly special unfolding.

The best thing about Lenses Alien: its incessant begging for you to spin it again.

Every song on Soul Punk bleeds confidence and assurance--that these songs are what Patrick Stump is happy creating--music that he's proud of.

In the Pit of the Stomach is truly a feel-better record--in whatever way that resonates with you.

It'll be difficult to find many albums that can top the type of creativity Odd Soul contains, making it one of the essential must-have albums of 2011.

The Hunter is another polarizing yet captivating (and incredibly fun) effort from one of the most talented bands in modern metal.

All in all, People and Things hits home as an almost surprisingly diverse record from Jack's Mannequin.

The Whole Love is much more encompassing of everything vital in the Wilco catalog, the twangy, the noisy, and yes, a little of the leisurely.

Gravity The Seducer has its fair share of tremendous moments, but unfortunately those moments begin to lose their gloss when entangled with fragments of inconveniently placed filler.

If you have the patience to wait and persevere until Paradise fully blossoms with you into something spectacular, rest assured, it will be a record that won't stop giving when it finally does.

A hard-hitting, purely enjoyable album from South Florida's proudest sons.

It's one of the most organic and genuine albums of 2011.

Agitations makes wrecking balls out of playground jacks in that it uses the same amount of destructive velocity as it does stimulate youth.

It's a fun album with lyrics that, while they are not exactly impressive, apply to me and are fun to sing out loud.

This is the best record released so far this year, and there very likely will not be one that can top it.

Whether it was "the right way" or not, all of the days that we have waited for Neighborhoods have been well worth it.

The Jayhawks are still crafting music that should be emulated. And that in and of itself is why Mockingbird Time is worth its 50 minutes.

It's a take it or leave it, and for arguably the most consistent band in the scene over the last decade, Major/Minor is a triumph. What else and to whom do they need to prove anything anymore anyway?

Nothing, and nobody, is broken beyond repair, and Unbroken showcases that beautifully.

If she maintains this faith in her abilities, her albums will continue to awe, inspire and provide tough competition for the rest of the world.

While less varied in the style department than its predecessor, Thursday is another intimate look at the Tesfaye and the life he lives as The Weeknd.

While overall House of Balloons carries a chilling vibe, it proceeds to rock the listener with exciting tempos and relaxing melodies that intertwine to form a beautiful piece of art.

There is a sense of urgency and maturity here that few in the genre will be able to replicate. So forget the throne, The Devil Wears Prada doesn't need it to prove that they've released the best metalcore album of the year.

It may not supplant Through Being Cool or Stay What You Are as your favorite Saves The Day album, but you can safely put it in the upper echelon of their discography.

Annie Clark stands out with her work because she is one of the few artists that can take something mournful and make it jarring yet angelic all at once.

However, despite losing a key member, the Red Hot Chili Peppers come out triumphant with I'm With You.

Tripper sounds like Hill and Seim naturally hashed some tunes out--just with some better years of experience behind them to reflect back on.

Their talented musicianship signals they are out of step with their peers experimentally as grindcore architects; likewise, Darker Handcraft will trap you easily in frenetic whiplash mode.

Mirror Traffic, Malkmus's fifth post-Pavement album, is proof that the singer, now 45, hasn't lost an ounce of what made him an iconic figure in the '90s.

If anything, Tha Carter IV feels like a party, one that Wayne is throwing for his contemporaries in the hip-hop scene.

His latest release with the Black Widows, the pop-tinged, rock-and-roll based The Spade, is a collection of reasons why. It's tough to imagine why any band or artist would pass over a chance to work with Walker after hearing this release.

So sit back and grab a bag of popcorn, because Vacation is chock-full of aural acrobatics rolled up into its withered plaid sleeves. You just have to be daring enough to push that button.

It is all-at-once beautiful, infectious, impressive and brilliant.

Sympathy isn't all cartwheels and picnics. But even in the face of death, there is optimism in Eiseland's songwriting that makes you want to listen regardless of mood.

As long as they keep making records as good as Drifter, they can stop wandering around, and stay as long as they like.

The instrumentation is luscious and variable, the harmonies are wonderful, the lyrics are solid and compelling for the most part, and with such a lovely blend of slower and up-tempo tracks to choose from, Overlook is something you definitely don't want to do in regards to what might just be considered Maria Taylor's finest solo effort to date.

It's nice to have a few good new tracks to add to the collection from one of the scene's finest.

Much like his public persona, Kanye West's presence is hard to ignore on Watch the Throne. Every track is, without a doubt, his and his alone.

Because the band took the songs from Carlile's solo sessions and integrated them with the songs the band wrote during the front man's absence, The Flood's final product lacks some cohesiveness.

Timez Are Weird These Days is the perfect example of what London is capable of, snatching elements of popular music from across the decades to create a sound that's both nostalgic and refreshing.

Timez Are Weird These Days is the perfect example of what London is capable of, snatching elements of popular music from across the decades to create a sound that's both nostalgic and refreshing.

Mind-blowing and catchy, Black Up is an album too progressive to pass up. Get on this as soon as possible.

Of course, it could have potentially been trimmed down and rearranged slightly more efficiently, but for an official debut full-length, it's a wonderful achievement and a more than worthy listen.

The resulting songs sway in and out pleasantly, but are too often as easy on the brain as they are the ears.

Damnesia satiates the appetite fans have for new material (as well as washing away the disappointing taste of 2010's This Addiction) while proving that an old band can still do new tricks.

While Goblin is a slow, 75-minute mental breakdown of Tyler, Blackenedwhite is a brisk, crisp, and energetic hip-hop record, clocking in at barely 30 minutes.

Put simply, Mount Moriah is a compelling debut full of candidness, thoughtfully well crafted and relatable lyrics, beautiful vocals with the ability to mesmerizing, and dare I say it, already an aura and element of timelessness destined to surround it.

It's a decent addition to the artist's already impressive resume, but fails to arrest the same attention his earlier releases are famous for.

Shed is the right album for those who don't want their pop-punk bands opting for breakdowns.

Exmilitary is an abrasive and traumatic ordeal, rife with production that's on-point but completely jarring at the same time.

It's doing more with less, on a level that simply demands attention. That, ladies and gentlemen, just might make Dawes something you'll pass on to your children.

With Leveler, August Burns Red stays true to their sound while remaining fresh. The 12 tracks contain new dynamics and elements that are sure to please old and new fans alike, while Jake Luhrs' performance places him to the very top of best vocalists within the genre.

With brilliant production from the likes of No I.D., Kanye West, and The Neptunes as well as an amazing supporting cast of lyricists, Sean has crafted an exceptional debut album without losing the charm of his comparably solid mixtapes.

From heartache and vulnerability through to acceptance and salvaging a friendship when all could have potentially been lost, who needs a plane to fly low when the detail and scenery on offer here in these forty minutes is already far more beautiful, dazzling, and effortlessly uplifting?

Don't worry about your legacy Beyonce;4 has solidified your already stable position as pop's queen, and I don't think anyone will forget your name for quite some time.

After we leave the forebodingly beautiful place of Little Hell one thing is certain--this is City and Colour's finest, most creative work to date.

Once you let it sink in that this isn't the same band from the early aughts, then you can start to appreciate Taking Back Sunday as a solid rock record – their best in 7 years.

Bon Iver, Bon Iver is Vernon's triumphant re-emergence from those lonely woods back into the world.

Much like Bad Religion, these veterans of the genre have aged well and with Laugh Now, Laugh Later, have proved they can still be relevant well past their more celebrated years.

It's evident from the musicianship, from the instrumentation, from the lyrics, and from the vocal delivery that Parting the Sea Between Brightness and Me is a record of progression and refinement; released halfway through 2011, it will go down among the best of the heavy hitters this year.

The record as a substantial body of work comes complete with up-tempo numbers that are danceable but without an enticing hook, a few straightforward pop/rock tunes with tremendous choruses, and an album ending ballad that renders the album slightly indifferent, inconsistent and lacking an underlying direction and purpose.

Lyrically, Aesop Rock and Rob Sonic have never been stronger, and they play off each other with a unique composure that's rare nowadays. The production from track to track varies enough to keep things interesting, but it unfortunately begins to bleed together after multiple listens. Still, Are You Gonna Eat That? is an amazing return to the scene for both artists.

With a few more tracks, Hell: The Sequel would have been a fantastic record. But as an EP, a few of its faults are hard to hide.

Aside from a thin outer veil, This Modern Glitch is a disappointment from a band who most listeners were probably only hoping to get a few catchy singles from.

They create sophisticated and charming indie/pop songs that occasionally have moments of calamity and moodiness. Their hooks are compelling, their lyrics often thoughtful, and because they explore the topic of love and heartache, they're bound to resonate with many who give the intimate, Love Notes / Letter Bombs thirty minutes of their time.

What sets Fucked Up's new album aside from their previous records though is the accessibility and bright tone throughout.

What's fascinating about The Color Spectrum (and easily comparable to a contemporary like The Alchemy Index) is how expansive the quality of the records are in their execution.

With their third full-length, The Wonder Years have made a record that's as timeless as they come.

For near-perfectly executed indie-pop, we the lucky listeners don't have to wait for a "next time." Cults have struck gold the first time out.

They are still a force to be reckoned with and they still write some of the best and most beautiful instrumental music but without a small revolution in sound; their catalogue will (albeit, beautifully) end up blending together like one long song.

England, Keep My Bones is Turner's most emphatic success and the best singer/songwriter album that will be released in 2011.

Go With Me certainly isn't a bad record by any means, but it just doesn't have the originality and lasting value that will keep people coming back for repeat listens.

All Time Low made the catchiest record possible and have their fingers crossed for airplay in the upcoming months. For those who accept it, Dirty Work will be a staple in their summer playlist.

As the record comes to a close, it's impossible not to note the true creativity exerted throughout the entirety of Codes and Keys.

The way I see Torches, it's not so much music as a vehicle to convey their message, but more so just fun music for the sake of fun music, and well, you have to have lyrics, don't you?

Strange Negotiations may take some time to grow on even the most die-hard of Bazan's fans, but the roots of its few standouts run deep with repeated listens.

I will simply say, if you are a young person who is unsure or drifting by in any way, give Holy Shit a chance. Scream along. Feel better. Live your life the way you find most wonderful.

They have taken what they knew they were at good first time round, shed some of the cliche post rock elements and pressed on in a direction which at this stage in their career was perhaps a safer bet as opposed to trying something completely new, but it was the right bet.

For all of the baggage that comes included with Helplessness Blues, it is still a relaxing, folk-y Fleet Foxes record.

As a whole, Life Fantastic is the band's most accessible album yet, full of memorable hooks while retaining the eccentricity and theatricality that have become synonymous with the band.

Burst Apart retains all the band's compositional prowess and aural splendor, but it's also a record we can truly celebrate.

Helplessness Blues is one of the few things reminding me that behind the liquor stores and condominiums is a little freedom and a lot of hope.

While the production may not be as exciting as the first serving, it helps to connect Goblin's deeper meanings with their formation on Bastard.

In a year that's produced an overwhelming amount of great music, Simple Math is another outstanding painting worth the public's attention.

Frank Turner definitely does whatever he wants, and he's a lot better at it than I am at pretty much everything.

The regression in complexity seems to underscore the band's endorsement of arrested development as the secret to eternal youth. Their perpetual glee suggests that maybe they're onto something.

It's not that All at Once isn't a likable record; it just seems rather scattershot, and none of it captures the hard-hitting intensity of their debut's best cuts.

I've expressed a fair amount of negativity toward Euphoric Heartbreak, but Glasvegas are an endearing, though a bit try-hard, band, and Euphoric Heartbreak is an endearing, though a bit try-hard, album.

If you're looking for a solid heavy record to give a spin, give The Hollow a chance.

With tunes this infectious and an overarching aura of well-being, Forever Today is a favorite to be the feel-good album of the spring.

Rescue is certainly highlighted by its quality tracks, but there is unfortunately a fair amount of filler in what proves to be a merely decent release by this band.

In and Out of Youth and Lightness is not going to be an album for the impatient. A few listens are needed to soak in every layer this album has to offer.

So make no mistake, Rolling Papers is unquestionably slick pop-rap candy, and there's nothing substantive to be found beneath the choking shroud of weed smoke.