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.

A fist-pumping, hip-swerving rock record that roars with energy and makes for a most exuberant return to form.

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

I Don't Dance is a sprawling, thought provoking work from an artist who is just now hitting his stride.

Wide-ranging, engrossing and incredibly powerful it represents a new height for a band who has hinted at towering heights before.

This isn’t an album that’s going to light people up or satisfy those who are still suffering from The Smiths refusal to reunite. However, if you take The Messenger for what it most organically is, a British indie rock album, you won’t be disappointed.

It's incredibly insular and sure of itself, but it's also smartly innovative.

If you want a refreshing, imaginative, heartfelt record which manages to be fun and emotional at once, So Long, See You Tomorrow provides everything you could want. Bombay Bicycle Club are the best at what they do.

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.

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.

Vulnerable contains its share of lemons, but there is a spark, an energy, that hasn't been heard from McCracken's voice in a while.

Out of Love is old-timey, fun (yet dark), and deep enough to merit sinking your teeth into it a bit.

The songwriter gets primary production credit on nine of the 12 tracks from The Blessed Unrest, and on many of them, she uses that position to build the sort of stunning and nuanced arrangements that elevate her songs beyond traditional singer/songwriter fare.

Come Back As Rain is a pleasant...not a surprise, but reaffirmation...that Good Old War is one of the most talented bands around at this point in time.

This could be the record that provides that breakthrough [to mainstream].

So even when he's writing winning pop anthems, Page One, ultimately becomes a mirror to his personal life: brilliant, impassioned and articulate, yet undeniably hinged to hiccups, pitfalls and moments of sheer idiocy.

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.

Then Came the Morning is still a solid next step for a promising young band. The songs are catchy and memorable, the musicianship is impeccable, and the production... well, suffice to say that Aaron Dessner should soon find himself an in-demand producer in the folk/Americana world.

All told, it’s a solid record with no glaring weak points (a first for the Foo Fighters) and with some of the band’s more rewarding and adventurous songwriting.

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

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.

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

More than anything, Moving Mountains feels complete.

Paperboy has done it. I mean, I don't really know what he's done. He's made this album, Come and Get It, that truly stands in its own category in 2010.

While the EP isn't the best material of the band's career, it shows a promising future that looked ever so bleak just a mere three years ago.

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.

EVOL is one of if not the best project Future has under his name, and while it may not feel as grandiose and capital I Important as DS2 in his legacy, it pushes his sound forward while he continues to stretch himself as an MC, songwriter, and lyricist.

This album may be a step up from his previous outing, 2012's God Forgives, I Don't, but Mastermind hints that the Rick Ross story may have nowhere else to go.