Lights Out is a more-than-satisfactory entry in the singer's solid discography, and easily one of the best pop albums of the year so far.

From the onset, it's apparent Shaolin vs. Wu-Tang is meant to be a nostalgic look back on the Wu's glory days.

All in all, it's a solid debut effort and one that never spares on electronic dramatics and an extensive array of far-ranging ideas.

Lyrically and musically (guitarists Luke Kilpatrick and Jeff Ling showcase impressive tapping and riffing throughout), this is Parkway Drive at its best--combining the best elements from its previous albums and expanding on them to create an album that encompasses all your senses.

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.

The first few tracks of the release are pleasant, everything is undermined by the last half.

While their third record The Wack Album may be the group’s weakest effort to date, it still shows off their abilities as hook writers and as the preeminent hip-hop satirists in today’s industry.

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

Having complete freedom and reign with this record, Eisley was able to take its musical element to richer and grander heights.

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

Produced by Shaun Lopez (Far, Deftones), the sound and shape of each Renacer is clean and spacious.

Ultimately, Mayer Hawthorne has created his most complete and compelling piece of art yet, taking risks, experimenting, and looking to expand his already defined palate.

As far as comebacks go, you can't ask for much more than the sturdy set of vibrant pop songs The Feelies have bestowed upon us.

Overall, The Bears For Lunch is an great record, however those extra unnecessary tracks weigh it down at points and prevent it from being excellent.

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.

Forging a path not quite dismissing their last batch of cuts, Architects' drive to re-assert their heavier influences makes for a back-and-forth slug match that draws on a little too long at points – yet is still memorable enough to keep you coming back for the highlights.

Coming in at 11 tracks, Gemini, Her Majesty doesn't contain a single song that you'll want to skip.

For a group of guys who are now 22 years on from their debut album and 15 years past their prime as one of the biggest and most important groups in rock ‘n’ roll, Lightning Bolt is a strikingly stellar set of songs that belies the band’s democratic nature.

There’s still a great album somewhere in this Philly quintet and we hear flashes of it throughout.

Though not nearly as strong as 2008’s Ganging Up On the Sun, Evermotion is stronger than 2010’s Easy Wonderful and will continue to keep the band relevant in 2015 and beyond.

The New Sidewalk isn’t their great album, but it’s undoubtedly a stepping stone on the way there.

The Wallflowers have always been a band that excelled at bringing new life to things we'd heard before, and that remains true on Glad All Over.

While country music press (and even some Top 40 radio stations) champion Miranda Lambert for her spunk, zest and exuberance, the fact of the matter is plenty of female singer-songwriters have just as much spunk, zest or exuberance. Rosie Flores is no exception. Working Girl's Guitar is proof of that.

While the album doesn’t have the dynamic genre-hopping sensibility that made both Continuum and Born and Raised instant classics, it’s still a solid set of songs that follows one of today’s best songwriters as he establishes a new comfort zone.

It might take a moment to sink in, but the return of Verse to both touring and recording has reaped its most challenging disc to date--leaving us with something to cherish and consider in the process.

Return to the Moon is far from disappointing. More accurately, it is a scattershot collection of unique sonic experiments and National-esque B-sides that are unlikely to sway opinions of Berninger's primary outlet either way.

It may not be groundbreaking or shocking, but it’s quite a good record nonetheless.

As a whole, Born and Raised is contrite, earnest and warm.