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.

Getting Paid is nothing but a precise groove of excellence.

What A Time To Be Alive is ultimately the kind of release that will be relegated to curio status in the near future. It doesn’t hold a candle to the strength of either rappers best work, and for Future in particular its overall quality feels like a steep dip from the highs of his most recent run.

Temples are a promising band that definitely has a great record--or perhaps several--in them, but this one isn’t quite it. It certainly does make for a colorful and fun listen though, so just unplug and enjoy the ride.

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

As it stands, its hard to call anything on this album an evolution, since many of the tracks feel like they're just more beefed up but far less interesting versions of what they gave us on Shrines.

While the disc is certainly enjoyable in its own write, Terror doesn’t seem to be out to re-invent the wheel--but perhaps refine the vehicle they drive it on.

An understandable desire to have her traumas understood by everybody inevitably results in a bland mush of melodrama. Despite this, The Pinkprint is Nicki Minaj’s most successful album by a fairly wide margin, as she becomes more empathetic than at any point in the past while Pink Friday’s DMZ between pop and rap becomes little more than a historical footnote in her career.

Chances are, his best work is still ahead of him, but for now, Tomorrowland is another fascinating statement from one of music's most promising young players.

The unrelenting force of these songs almost becomes too much, but Waterfall is over before you know it and somehow leaves you begging for more.

While it may lack the immediate magnetism of Weathervanes, there's plenty of reasons to think when all is said and done, Diluvia will be the album that carries them forward and cements their status as one of New York City's most creative and rewarding indie bands.

Maintaining the melodramatic indie that Stars do so beautifully, The North manages to channel every aspect of the indie rock spectrum, whilst creating a body of art that is perfectly coherent.

So it is in just nine short songs, Kinsella has crafted something deeply resonant, deeply impacting and most importantly, timeless.

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

Comprised of many songs he has tucked away for years, the album is everything one might expect from a Gibbard solo album: daring, delicate, verbose and indelible.

Wolf is still packed with signs of potential, and at this point it would be just as foolish to write Tyler off as it would be to call him one of the best in the game.

The best songs from this album are all but unforgettable, and there are a handful of tracks that will certainly survive the test of time.

Slightly unfocused by design, Lantern broadens HudMo’s repertoire while also reaffirming his status as the premier producer of the sound that brought him to fame.

There's no real logical conclusion as to what it all means, and The Roots understand that. That's part of why they made the album so short; so that you can put the time in and come to a conclusion yourself.

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

What we end up with on Cope is not only an album that’s worth the wait, but one that seems to be pretty distinctly illuminating a path: soft-to-loud, simplicity over complexity and emotional release through power chords.

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

Generally speaking, the Jack Ü project is fully functional party music that hedges its bets with collaborations and does little in the way of genuine innovation.

Overall, Young Hunger is the sound of an artist spreading himself too thin.

It's good to listen to a record like The People's Key, if for no other reason, just to appreciate a songwriter who knew exactly what he wanted to do and executed it perfectly.

Mechanical Bull is the sound of real life. It’s the sound of Kings of Leon realizing that sometimes where you were is better than where you ended up.

Simply put, Death of a Bachelor is exactly the hot mess it wants to be. It’s been a while since I’ve heard an album that’s so divisive in its quality, so manic on one end and so lazy on the other.