The album doesn't quite knit together seamlessly, but that doesn't mean there isn't plenty of interesting stuff here. If anything, Where The Messengers Are is an easily measurable improvement over their debut.

Back with the 808 boom, the stone-cold rhymes, and that sturdy, warrior soul, Bun B is officially crowned consistent with his third solo effort, the satisfying Trill O.G.

Weareallgoingtoburninhellmegamixxx3 is a logical progression from his hectic early work as genres like dubstep and grime have since appeared to increase the pressure. Extended runs of uptempo numbers are something new for the man, and the album refuses to chill until it takes a breather on track six

If they can't quite deliver the songs or hooks--and they can't--they need to have the attitude, which they do here.

Even in the heavier moments, the album plays with a cool, unruffled composure that seems more easygoing than prior outings, making for a comfortable, welcome return.

The man is full of contradictions and lyrics that demand deciphering, so Str8 Killa becomes an excellent entry point, maybe by default and maybe by design. Either way, it's a necessary purchase for gangsta rap fans and a gateway drug that will send you straight to the mixtape underground.

The California-bred Hoop does indeed have plenty of additional idiosyncratic ideas to offer, not just lyrically but musically, on her second album, Hunting My Dress.

Luckily, the sound of the band remains unchanged, and as one of the best drummers in the business, Portnoy picks up the reigns and rides the Deathbat's double kick in complete synchronicity with Gates, Christ, and Vengeance.

Praise & Blame winds up an undeniably excellent album that you're either ready for or you're not.

Drifting between order and disarray, Menomena's fourth album is like an exercise in controlled chaos.

Crazy for You is meant to be an album that creates a mood, a feeling of gentle despair and wistful longing that grows with each song. On that count, it's a complete success.

Ten singles--these voices could have used some better material--but the album will likely please most of the fan base, as it is a rather skillful update of the familiar.

Beach Fossils may be very 2010 but they aren't just along for the ride, they're driving the bandwagon.

The album is certainly more in vogue than Tell It to the Volcano--its blippy keyboards and amorphous arrangements sound very 2010--but that doesn't keep it from sounding less gratifying than the band's debut, which prized a good pop hook above all else.

Whether it works or not depends on whether you're in the love him or the hate him camp, but no compromise is just what his fans signed up for in the first place. The Darkside, Vol. 1 is a mean beast of an album that will surely make Joe's army re-enlist for Vol. 2.

In the end, a necessary acquisition for fans or an easy way for newcomers to judge whether they are wacky enough to join the Major's cyberpunky reggae party.

Not as cohesive as The Salvation Blues, Many Colored Kites is still a worthy and brave album that finds Mark Olson continuing to find new ways of sharing what life has taught him through his music.

It's fairly inoffensive rock, but the music and melodies are remarkably accomplished, especially for an early outing.

Rick Ross keeps a very good thing going on Teflon Don, arguably his best album to date.

There's an ease to this record that's not often heard on Sheryl Crow's albums and its light touch is thoroughly appealing.

Archive 2003-2006 is well worth a listen for Department of Eagles and Grizzly Bear fans, especially those intrigued by how albums get made--or don't get made, as the case may be.

There's a laid-back, late-night vibe maintained throughout Obadiah, as Ford unleashes her moody croon over slow to midtempo tunes colored by piano, organ, and Tanyas member Trish Klein's guitar work and powered by mellow but funky, slow-rolling grooves.

This may be the most subdued of Richter's Fat Cat releases, but every nuance shows the care with which he crafts all of his music.

This disc does gather the duo's most-known material, including "Destiny," "Distractions," "In the Waiting Line," and "Polaris," all of which were licensed for several compilations and/or used in advertisements.

This is a heartfelt, creative, and deeply inspired album that should appeal to fans of intelligent pop music.

Even if it's not as cohesive as Mahjongg's earlier work, it's easily some of the band's boldest, most confident music.

These United States are trying to transport the listener back to a conversation among a group of weed-smoking flower children circa 1971/1972, but lyrically, they continue to miss the mark and end up sounding pretentious instead. Nonetheless, they do have an appealing sense of melody, and despite this album's shortcomings, one doesn't want to give up on These United States just yet.

Despite the delay, Dark Night of the Soul shows what a talent and what a generous collaborator we lost in Mark Linkous.