Unfortunately, a handful of good moments aren't enough to outweigh an album jammed with songwriting that just doesn't amount to anything.

Out of Love is old-timey, fun (yet dark), and deep enough to merit sinking your teeth into it a bit.

The songwriter gets primary production credit on nine of the 12 tracks from The Blessed Unrest, and on many of them, she uses that position to build the sort of stunning and nuanced arrangements that elevate her songs beyond traditional singer/songwriter fare.

Come Back As Rain is a pleasant...not a surprise, but reaffirmation...that Good Old War is one of the most talented bands around at this point in time.

This could be the record that provides that breakthrough [to mainstream].

So even when he's writing winning pop anthems, Page One, ultimately becomes a mirror to his personal life: brilliant, impassioned and articulate, yet undeniably hinged to hiccups, pitfalls and moments of sheer idiocy.

Gravity The Seducer has its fair share of tremendous moments, but unfortunately those moments begin to lose their gloss when entangled with fragments of inconveniently placed filler.

Then Came the Morning is still a solid next step for a promising young band. The songs are catchy and memorable, the musicianship is impeccable, and the production... well, suffice to say that Aaron Dessner should soon find himself an in-demand producer in the folk/Americana world.

All told, it’s a solid record with no glaring weak points (a first for the Foo Fighters) and with some of the band’s more rewarding and adventurous songwriting.

Transformative, entrancing and wholly confident, Sigh No More is head and shoulders above the competition.

Overall, it's a palatable mix of retro-leaning metal that's suitable for headbanging or playing air-guitar but doesn't cover much new ground.

The flow of Strange Clouds tends to vary between songs that are helping make the album great ("So Good," "Arena," "So Hard to Breathe"), and then the ones that keep pushing it down the route of a sophomore slump ("Ray Bands," "Just a Sign," "Play for Keeps"). Right when there's about to be a trend of some consistency, it ends up falling short.

Jimmy Eat World have not just changed the game - they continue to reinvent and redevelop it entirely, each and every time.

More than anything, Moving Mountains feels complete.

Paperboy has done it. I mean, I don't really know what he's done. He's made this album, Come and Get It, that truly stands in its own category in 2010.

While the EP isn't the best material of the band's career, it shows a promising future that looked ever so bleak just a mere three years ago.

Unfortunately, Rustie’s seemingly inherent need to zig when expected to zag has resulted in an awkwardly stitched together ragdoll of otherwise intriguing and successful pieces.

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.

EVOL is one of if not the best project Future has under his name, and while it may not feel as grandiose and capital I Important as DS2 in his legacy, it pushes his sound forward while he continues to stretch himself as an MC, songwriter, and lyricist.

This album may be a step up from his previous outing, 2012's God Forgives, I Don't, but Mastermind hints that the Rick Ross story may have nowhere else to go.

The combination of Vigil's honest, yet relatable lyricism and the powerful instrumentation make for the band's most powerful statement to date.

Aside from a few solid, unspectacular pop-rock songs though, ¡Dos! Has only one thing to offer: it makes ¡Uno! sound a hell of a lot better.

They have taken what they knew they were at good first time round, shed some of the cliche post rock elements and pressed on in a direction which at this stage in their career was perhaps a safer bet as opposed to trying something completely new, but it was the right bet.

What Antonoff has accomplished with Bleachers that he hasn’t yet with fun. or never did with Steel Train is create an album that inspires as much as it transports. It’s so sure and precise in its vision that it almost feels like a concept album without a concept.

NOFX take a crack at pressing matters both inwards and outwards, succeeding in not only making a seamless expression of both sides but cranking out some truly memorable jams to boot.

Without a doubt, this is all a lot to swallow, especially for long time fans of the band. Pure pop escapism this isn't, but as proof-positive that a band can evolve into legitimate artists without resorting to navel-gazing, it's wholly triumphant.

He has done his best to deliver the kind of care-free, gaudy rap album that will be blaring from the speakers of house parties everywhere for months to come, and B.O.A.T.S. II #METIME readily delivers on that promise.

At the end of the day, when you look at this album, everything just fires on all cylinders--lyrically, vocally, instrumentally.