While the kick of recognition of the distinctive styles and contributions of each member is part of the pleasure, the album sounds like the product of a group, of a powerful force of equals. And it's all the better for it.

After 14 years they show no signs of slowing down and you know what you don't want them too because they haven't even come close to sucking. It's a win win for all of us.

This album is a wellspring of the bandmates' combined creativity and an ode to free-spirited artistic expression. Bravo.

Hurricane is her first new album since 1989, and it's her best ever.

True, The High Country doesn't allow for the giddiest of circumstance, but if it doesn't break your heart, it may just steal it instead.

If concept albums aren't your thing, so be it. But if a rare musical vision is, you'd be foolish to pass up Night of Hunters.

He's a modern master.

There are 13 terrific cuts out of 15, and the album does it's job of demonstrating that the 5 Royales deserve reconsideration.

True to its title, Believers does indeed have the potential to make faithful advocates of all.

There are worse ways to pass 45 minutes than to listen to music so amiable as this, but Neil Finn has done--and one hopes will again do--much better.

By focusing more on originality and the aural progression of this album, Neon Indian is clearly honing their craft and proving that the musical trend they helped to create, won't be going out of style anytime soon.

Besides embracing improved recording and production, the album stands out in their catalog for containing a strong roster of outstanding songs, not a 98-pound weakling in the bunch.

When the band kicks on the distortion, things pick up immensely.

Campbell is at the top of his game even at closing time. If there's no more to come then this is as good a spot as any to ring down the curtain.

Perhaps for the first time ever on a Chili Peppers record, it is Flea who takes the reigns as the lead instrument here, going Jaco all over this mofo so to speak, which ultimately proves to be this album's saving grace.

You're not going to learn much in this hot tub, or perhaps remember much about it afterwards, but come on in, the water's fine.

Optimism hasn't always been a hallmark of Doe's endeavors, but it ought to be said that this less-dour Doe is easy to enjoy.

Outside Society serves as an excellent primer for the young person looking to delve into the genius of Patti Smith for the first time as well as an essential addition to the record shelf of any seasoned fan well versed in the catalog of this high priestess of rock 'n' roll.

If Witching Hour was the finest apple the band ever produced, this is their finest orange. But as a whole, it probably is their best and most well-rounded record.

While it has been out in their native land since January and only recently been made available in this country through tiny New York-based What's Your Rupture?, this 12-track typhoon is exactly the kick in the ass our sorry punk community needs in the wake of Jay Reatard's untimely death.

If you are looking to enjoy a continuation of the gals' intriguing blend of Breeders-esque harmony and Tall Dwarves-ish bombast, you may find yourself listening to this otherwise fine record Again and Again.

This is no disaster on the level of, say, a Leonard Nimoy or Don Johnson album, but given Laurie's outspoken love for New Orleans and the involvement of Henry and his crew, Let Them Talk still falls well short of expectations.

Without sounding anything like Pet Sounds, Seeds We Sow indicates Buckingham has absorbed Wilson's lessons well.

Still Living has its share of baroque pop moments, but its strongest songs are the ones that rock the hardest.

It takes a certain like-minded political sensibility to wholly appreciate both the music and the mantra, but rebels in search of a cause will likely share sympathy for Morello's fervent muse.

For much of the album, disparate elements come together in complicated ways that are cerebral, sensual and spiritual all at once. Nicely done.

Hatfield more closely follows the model of her most popular work, with multi-tracked vocals and hooky arrangements to boost the pop quotient.

The Rip Tide is moderate in ambition, and hardly a masterwork, if such things empirically exist.

Skying proves a maturing for the band and unveils a new realm of sonic possibilities.

It is a flavorful fusion as unique as the Yugoslavian Spomenik that graces the cover of his eponymous full-length debut on Fat Possum - and one that stands apart from the seemingly endless barrage of home-recorded acts who have posted their wares on Blogger, Bandcamp and Tumblr these days.

With Sagara, Disjokke splits the difference between late-period Cluster and Alan Lomax, offering a most unique world view on 21st Century Nordic festival music from one of that nation's most open-minded visionaries.

These Merritt wonder-tonics may not curl your hair or cure any ailment, but they act as a salve to a multitude of human conditions. Best to stock up and be prepared.

Seeing this is Grossi's first full-length, it's an achievement, and although it fizzles out near the end, the killer tracks far eclipse the lesser numbers.

This album feels more like a curio of a bygone era rather than an overlooked gem.

With a talented quartet of musicians in tow--Thompson, Shawn Camp, Bryn Davies and Kenny Malone--the acoustic setting provides newcomers with an ideal introduction and gives longtime fans further reason for ongoing appreciation.

Tha Funk Capital Of The World, is one of his best ever records as a front man and one of the most outrageously funky records released in years.

An equally engaging sonic concept entitled Drums Between The Bells.

With the debut, the main argument against Fool's Gold seemed to be that they were appropriating too much African influence, sounds they didn't have a right to, into what was primarily pop. With Leave No Trace, I'd say they've gone too far the other way, eliminating the eccentricities and exoticisms that made them interesting.

Once again, The War on Drugs have crafted an album of the year, built not upon flash or novelty, but a new take on traditional rock and roll that is always pushing forward.

Icky Mettle rocks. Hard.

Giving seems to go on and on towards some distant, perhaps unreachable horizon.

Sky Full of Holes is the perfect sound of a band staying within their comfort zone while not forgetting the power of the almighty hook.

The songs convey a lot of deep ideas without resorting to flowery prose. In fact the words are often fairly straightforward which ends up making the whole project hit a little deeper than initially anticipated.

This is almost background music (think synth meets krautrock meets disco meets industrial), music to wash the dishes to or fold clothes or, simply music to dance to (that is probably what the band wants) and in that sense it is perfect for a darkened club where the only thing to do is dance (no drinking or fucking allowed).

Not intended for the faint of heart, Is That You in the Blue? chides, challenges and relentlessly rocks.

The result is a deeply humane album, it makes poetry out of the disappointments of daily existence and narrative out of the mistakes that people make.

The music will put a smile on your face and make you want to dance - which is what good, timeless pop is supposed to do, in the final estimation.

For all the new sonic waves undulating through this record, however, the band's distinctive identity still shines--there's no mistaking Marble Son for the work of anyone else, and it's the ability to evolve while still remaining true to core values that makes Jesse Sykes & the Sweet Hereafter great.

Like 2008's The Living And The Dead, Blood leans on judicious electric guitar solos, most often from Shahzad Ismaily, who co-produced the album, but also from Grey Gersten and, on one track, Marc Ribot.

The album teems with strong songs and performances.

John Hiatt has now released over one third of his career recordings since the year 2000, and seems likely to continue to make good music for some time to come.

Whitmore may not have the same potential to fill the nation's arenas, but his rugged determination finds him undeterred regardless.

With a solid collection of songs and some enormously creative and varied approaches to playing them, Stranger Me is the best work yet of an artist likely to continue growing further.

How sharply Holland expresses his rage, how clearly his disappointment reveals betrayed idealism....Strong stuff.

GOB is heavyweight hip-hop from one of urban England's brightest new talents of microphone mastery.

The album in a nut shell? The Grand Theatre, Volume Two is the soundtrack to a chaotic night at the tavern followed by clarity the morning after--melodiously rowdy, then harmoniously depressed.

The members of Gardens & Villa may spend a lot of time outdoors, but they're probably listening to Human League on headphones as they tiptoe through the thorns.

The change-up [writing exclusively on the keyboard] proved to be the best thing to happen for the duo, especially for Boeckner, a guitarist by trade whose embrace of the analog synth helped open a whole new world of expression for him as a songwriter.

The see-sawing dynamic runs a bit ragged, ultimately.

Taken as a whole, the two-CD incarnation of Life's Rich Pageant makes a case for the album taking its rightful place alongside such obvious classics as Murmur and Out of Time.

Any adventurous soul with both Drake and Sun Ra back to back on his or her iPod will most certainly be able to get down with this truly unique hip-hop experience.

As Yes is now in its sixth decade, the prog rock band shows on Fly From Here that it can still make music that is fresh and lively.

The heart- wrenching emotion is credible and convincing, even though the uneasy undercurrents find Green's brand of the blues seem somewhat tenuous at times. Nevertheless, at this point in the trajectory, City & Colour manages to provide a pleasing musical melange.

As always, the pair wrap their strings and larynxes 'round each other like the intimate companions they are, aided by production so warm and inviting it's like sitting in the room with them.

Akin to For Emma, Bon Iver breaks the listener's heart. And to experience an album (an oft-dreaded sophomore album, no less) that evokes such deep emotion is a welcomed pain.

The most conspicuous element of Last Summer is the simplicity of the music.

As its title suggests, Use Me offers a lesson in how to stay true to one's muse.

Nothing is Wrong is a terrific follow-up for a band that delivers beautiful, powerful music straight from their own hearts and right to yours. Believe.

It's about evenly balanced between original material and covers that show Willner's and Faithfull's deep-catalog knowledge of pop music.

It's not often that an album has this much to offer, intellectually, physically and spiritually. This is not just another sterile bedroom disco experiment, far from it.

Some listeners might run screaming but the band's tenacity is admirable, which keeps it exciting.

The weakest element here is Hawks' voice. It's not distractingly bad, but at times it sounds like he's attempting to sing better than he may actually be capable of. But overall the effect is a good one.

The final product can both unnerve and captivate, though not at the same time. As far as consistency, well that's another story.

You have an album that on balance is worth the effort it took to produce. But it's a precarious balance.

Simply said, this Little Bird soars.