It’s a wide, spacious, summer storm of a record that bounces around genres like an open-world RPG game, and while there may be only 12 locations you can fast-travel to, there is enough treasure in each to keep the adventurer occupied for a month of afternoons.

There are no wasted notes anywhere on July Flame, neither in Martine's production nor Veirs' tightly written (but still expressionistically poetic) compositions.

Rain on the City lacks the consistency of Johnston's masterpiece, "Can You Fly," or its follow-up, "This Perfect World," but unlike the albums that followed, this collection is a beautiful example of Johnston playing to his strengths and reminding us why he's one of the best and most singular American songwriters at work today.

The band are an almost classic example of one element working incredibly well and another almost tripping it up as it goes. What works is the group's collective ear for those previously mentioned sounds and styles, which the trio plays excellently throughout.

This leathery roots record contains music that bridges the gap between frail flesh and powerful spirit ruggedly, sensually, and honestly, making it a work of high art.

Everyone makes sample-based music these days, but very few people use found sounds and prefab musical snippets as creatively and thoughtfully as Blockhead does.

An album that thrives on sparse, tickling productions that are more about atmosphere than anything else.

Snooty taste makers and parents should avoid Animal at all costs, but with so many fun, “TiK ToK”-type tracks, the album has plenty for both brats and the bratty at heart.

Like all the other installments in the series, this one makes a nice addition to a hardcore supporter’s collection.

On Idol, McPhee always favored middle of the road over modern, and Unbroken returns her to that course, bringing her somewhere within the vicinity of Paula Cole (who co-writes the title track), Rachael Yamagata (who co-writes “Keep Drivin’”) and Mandy Moore’s stylized ‘70s throwback, flavored with the slightest traces of modern sounds, including a vague borrowing of Beyoncé phrasing.

This might be enjoyed by folks who are really into the Burzum albums Varg Vikernes made from his prison cell, but even Suicide fans will likely find Stigmata hard to get excited about.

Stronger with Each Tear is a very good Blige album, if not quite a classic.

There are some surprises on Mudvayne, like a surprisingly Slash-like guitar solo on "Closer" and the death metal intro to the Slipknot-esque "I Can't Wait," but too much of it is more of the same from the band and its genre.

This pimp from Shreveport sounds best when swaggering and rarely steps out of his comfort zone.

Don’t bother unless you can stand a healthy helping of sleaze, because this flashy party is for adult fan club members, the ones who don’t mind Wayne the show-off or Wayne the trashy smart-aleck.

All told, though, as we crawl to the end of this Year Of The Animal Collective, this release can certainly be said to have further elevated their status.

Keys never gets gritty, she remains reserved, never letting her singing or arrangements obscure the melodies or the classy veneer of the entire proceedings. All this determined detachment keeps The Element of Freedom from packing a primal, passionate punch, but there is charm in Alicia's enveloping, quiet cool.

It’s evident that hits--more specifically, appealing to younger listeners-- is the goal....Sex Therapy, however, enlists Snoop Dogg, Jay-Z, the Game, Kid Cudi, and Nicki “Stick shift the ding-a-ling” Minaj--not to mention Estelle and Jazmine Sullivan, both of whom contribute excellent background vocals on their respective appearances.

What saves it from being nothing but thirtysomething wish fulfillment is that this move toward goth-glam requires 30 Seconds to emphasize hooks and gives them aural variety, which doesn’t make them seem any more serious but does make them considerably more palatable.

Brown clumsily emphasizes womanizing and hedonism and balances it out with a couple clean and empty ballads. Out of this portion of the album, only a couple songs leave a lasting impression, and when they do, the silly things that come out of Brown’s mouth tend to be the reason.

There’s plenty of dazzling wordplay related to coke dealing and showing off, but the album carries a more redemptive tone and a higher level of self-awareness.

The album serves as a reminder of the flexibility and resilience that have allowed Snoop Dogg to remain an enduring figure in hip-hop.

Some of the songs do gain a degree of poignancy in this bare-bones setting, which doesn’t make them better, just different, and certainly worth hearing for those fans dedicated enough to care.

The whole thing sounds like it was made fairly quickly, as if Tim came up with a clever idea and proceeded to fill out the track with whatever came to mind first, rather than truly enhance it.

At the end of the day, The State vs. Radric Davis delivers the full spectrum of Gucci Mane, showing both the cash and yellow diamond-loving side, as well as his more reflective (or at least more self-aware) side.

Over half of the album's songs are filled with Robinson's bittersweet longing, brilliantly paired with some of Martin's most detailed, creative, and accessible production work.

Even on its mellower moments, the Bravery sound more excited about making music on this album than they have since their debut, making Stir the Blood a fine return to form.

He’s coasting here, no doubt about it, but no one can coast like he can