Lyrically, Aesop Rock and Rob Sonic have never been stronger, and they play off each other with a unique composure that's rare nowadays. The production from track to track varies enough to keep things interesting, but it unfortunately begins to bleed together after multiple listens. Still, Are You Gonna Eat That? is an amazing return to the scene for both artists.

In rippling the delving guitars and gripping drums with a tenacity that is tough to deny, The Acacia Strain find themselves again with just the right recipe--giving us a much more concentrated opportunity for catharsis in the key of anger.

Isis' Temporal is an honest and respectable attempt to not only chronicle their career perhaps intrigue a few more people in the process.

Nothing, and nobody, is broken beyond repair, and Unbroken showcases that beautifully.

There will surely be those who really want to hate Pedals, and they won't have any difficulty finding justification for their scorn within the album's ten tracks. Nonetheless, it's a winning return, though perhaps not entirely worth the wait.

Whereas Sinners... felt transitional, Cavalier Youth feels thorough; these tracks are freshly waxed and radio-ready.

Overall, Wolf's Law largely oversteps the sophomore slump.

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.

Though it may be Mac’s tamest experiment yet, it also lends credence to the idea that he truly is this year’s grand romantic.

However, despite losing a key member, the Red Hot Chili Peppers come out triumphant with I'm With You.

Coming in at 11 tracks, Gemini, Her Majesty doesn't contain a single song that you'll want to skip.

Timberlake throws every influence he’s ever touched at the canvas here, and he somehow gets away with it.

In Colour is neither a faithful regurgitation nor a distasteful bastardization of the past, but is instead a charming, effective attempt at bridging the gap between the two.

As has always been the case with City and Colour, this record is at its best when it forgoes sonic evolution for the bare bones simplicity of human emotion and the warm, gentle wash of pleasant nostalgia.

Kinsella has, yet again, created music as an art form and has provided us with a soundtrack to all of those moments between the events.

Guilty of Everything is the sort of first album that takes itself too seriously in the most endearing way--it's something that must be purged before a band can move on.

MGMT is truly the sound of two artists in the studio with the goal to entertain no one but themselves.

With strong songwriting, restrained arrangements, potent vocal work, and terrific production from Jay Joyce, Mr. Misunderstood is a deep, nuanced album that will appeal to fans of folk, country, or rock and roll in equal measure.

Overall, The Bears For Lunch is an great record, however those extra unnecessary tracks weigh it down at points and prevent it from being excellent.

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

The fiery temperament of former releases often gives way to that aforementioned arena-sized pop sensibility, making No Gods sound bigger (and more attractive) than anything this band has written before.

As with everything Van Etten puts out these days, it’s an essential release.

A Christmas Album captures the essence of any early Bright Eyes album whilst putting a new twist on festive favourites.

From front to back, Holy Vacants is a visceral, fist-pumping cornucopia of rage, terror, disappointment and instability.

Universal Themes has the makings to be one the year’s most intriguing collections of songs yet.

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.

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

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.