The Toronto-based collective goes all out on its third album, Latin, which features lead members Brian Borcherdt and Graham Walsh's spacey keyboards and effects supplemented by the powerful live drums and bass of their touring personnel.

Through it all, Finn's durable songcraft never fails to enthrall.

The Documentary 2, succeeds by reminding you what made the original so memorable.

Crazy Love is another step in Buble's creation of his own kind of songbook, and there's nothing necessarily crazy about that

It all sounds amazing on the first couple of listens, but the wheat (songs like the title track and “Did You Know?”) separates quickly from the chaff. Regardless, The Scene Between opens up a whole new lane for an artist that would have been easy to write off.

Throughout Stronger With Each Tear, Blige solidly reinforces why she endures as a fan favorite.

Long.Live.A$AP may not change the game like "good kid, m.A.A.d city," but A$AP Rocky's absorbing debut is more physical in its pleasure--as in, you'll be knocking your head to some of these songs for months.

Just like with the Troubadour release, the songs here touch a few nerves and hit a few more emotional spots than just merely the ups and downs of a male-female relationship.

None of the new spice here is likely to change anyone's mind about who Bad Religion is or what the band does. But you have to admire these guys' determination to keep things tasty.

How About I Be Me (And You Be You)?, is a slap-upside-the-head reminder, a collection of heartfelt confessionals, evocative insights and provocative position statements.

It's indeed better the second time around, no matter who's running her down.

Romance Is Boring would be better-served with more of the diversity that's found on these tracks. But those without dates on Valentine's Day should find some cheer in this danceable collection

One of the year's most anticipated pop releases is also one of the genre's weirdest--and most fully realized--efforts in ages.

We come to "A Wasteland Companion" with certain expectations. Happily, Ward meets them.

Martsch has hinted that There Is No Enemy could be the band's final album. If that's the case, the set's multifaceted melodies and experimentation would be an inspired sendoff.

Tempering heavier blues-alternative influences with a softer folk-rock feel, Broken Side of Time leaves an unmistakable mark.

Hawthorne Heights' rediscovery of its heavier roots may be what longtime fans have been yearning for, and also what the band needs to recover from past personal struggles.

In the rural wasteland of southwestern Texas, producers Dave Sitek (of TV On The Radio fame) and Nick Launay brought life to an album that's challenging and conceptual, yet also playful and raunchy.

For sure, Sabbath, Zeppelin and more obscure bands of the era like Wishbone Ash loom large over the proceedings, but Arbouretum breathes new life into a long-dormant genre with its melodic flair, the freshness of its approach and the tastefulness of its playing-and to call a band whose average song length is six to seven minutes "tasteful" is no faint praise.

At its best, a truly next-level soul album. One that has the warm, organic feel of R&B and deep pop hooks, but also the pulsating low-end and shimmering keyboard flourishes of EDM.

The uplifting set includes takes on lost gospel and blues numbers as well as reworkings of Bob Dylan's "Shot of Love," John Lennon's "I Don't Wanna Be a Soldier Mama" (featuring guitarist Doyle Bramhall II) and Prince's "Walk Don't Walk."

The quietly brilliant set translates the dance-rock explosion through the lenses of two guys who have lived the dance scene from the beginning.

Rihanna may have been a good girl gone bad on her 2007 album, but on her new one, she's a good girl gone bad-ass.

The most obvious distinction from past releases is the richly textured soundscape of unusual tones that Metheny harmonizes with on with his guitar.

Even those who felt lukewarm to Tegan and Sara's past few efforts should fully embrace their dazzling pop rebirth on Heartthrob, one of the best LPs of this young year.

The group's poppy guitars and thick, layered vocal harmonies occasionally improve upon some selections of the vastly diverse material.

Stronger, Sara Evans' first studio album in six years, is proof that some things are worth waiting for.

The 19-track album drags a bit in its latter half, but Boosie smartly saves its emotional climax for the devastating closer, "I'm Sorry," on which he ­apologizes one by one to everyone he neglected during his prison bid.