The album is something of a rollercoaster of musical styles, songwriting approaches and emotions. But most importantly, transcending it all, is Ritter's astounding power to make us hang on every word.

Omni is accessible yet not watered down; complex and engaging all at once. Its catchy and progressive elements will surely dig its way into your cerebellum.

As a whole, Bullet show absolutely no progression on Fever, despite this being their third album.

Plain and simple, Trans-Continental Hustle is a decent album that seems to rest on the band's multi-national roots and Hutz's Balkan growling to accomplish its goal. And while it's certainly an engaging and inspired exercise, the disc grows awfully weary after about a half-dozen songs.

Guest appearances on any type of album usually generates some negativity but the ones on Adventures really shine and freshen it up a bit.

There's certainly enough passion in Blue Sky Noise to show the masses where rock and roll and great songwriting can meet in a traditional compromise that everyone can enjoy.

They accomplished their mission. They made a record that doesn't have one radio hit, let alone a single and yet is stronger than their previous efforts.

The Dark Leaves is no less unassuming than anything else they've released, and about half of it is squarely in line with the material on their recent albums.

With The Wild Hunt, Swedish maestro Kristian Matsson once again constructs lively, emotional pieces with nothing more than his strangely authentic Southern drawl and nimble fingers. The lyrics are beyond superb.

It doesn't take a biological science major to realize that this album is very well worth listening to regardless of whether you're a seasoned veteran of The Amory Wars storyline or you've never even heard of Coheed & Cambria.

While there is some filler, some of the best Cancer Bats songs can be found here and that alone makes this worth checking out, even if it isn’t a gigantic departure.

Now the experimentation with electric guitars, even more electronic sampling and a focus on vocalist Becky Jacobs has brought Tunng to a paradise of exceeded expectations.

The point is, there's nothing not to like about Shame, Shame unless you're looking for some inscrutable puzzle to solve. However, if you want something you can just sit back and soak up, well, missing this album would be the real shame.

With serenity so hard to come by, an album like Down the Way is all the more satisfying.

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.

That we're still able to observe the funloving side of the band while also getting to see that there's more to them than that is what makes Two Thousand and Ten Injuries such a charmer. That their compositions sound more precisely constructed and flat-out better this time out doesn't hurt either.

Right from the start with opener "Lion Face Boy", Seabear bring you in and captivate you for the entirety of We Built A Fire.

Plastic Beach is a full blown hip-hop/trip-hop album and a prime example of how to stray away from one genre to dominate another. If Albarn has done anything with this project, he has shown his knowledge of flawless production and the ability to create aesthetically pleasing tunes.

Typically the band can be found tiptoeing the edge of shameless, binge-drinking punk rock ("Titus Andronicus Forever"). It's better when they're loud, I think, because it makes Stickles' doubt seem more immediate, like there's a time limit to his sanity.

The Brutalist Bricks sounds nothing like that at all. Ted Leo is still very much in his prime, and Bricks is as relevant (and as great) a record as you'll hear in 2010.

The end result is this expertly-crafted, inoffensive, hook-laden pop. Though it gets a bit silly in places, the core of this disc is far too good to pass up.

It's musically complex and ambitious, but flashes of powerpop shine through, making this Aloha's hookiest effort to date. Its pop aspect is more nocturnal than sunny, though, with its colors showing subtly vivid in the twilight.

It's not extraordinarily original, but they do a masterful job at piecing together classic pop elements in an incredibly thoughtful and enjoyable way, crafting an album that's sure to please indie snobs, pop purists and, well, anyone else who might be listening.

While armfuls of musicians can sing songs and sound entirely forced, insincere and phony, Potts is blessed in that every word he sings sounds authentic, honest and direct. In a musical landscape chock full of Auto-Tune and feigned emotion, a disc like this is certainly something to champion.

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

Walker has truly outdone himself with an album that captures all the nuances that made "Letters And Meadows" shine, and extracts them bit by bit to give every individual track its own breath.

Tapestry of Webs makes the band's debut EP seem like forgotten practice demos. Across the board, the album displays acts of jazz, salsa and anti-post-pop (if that's a word), and it all leaves the listener coming back for more.

The band has sprinted forward and earned an Olympic title of the "P" word. I Was Trying to Describe You To Someone is going to turn heads and only gain more respect and fans in the process.