While underground Hip Hop peers such as Cage and Zion I have struggled in their efforts to expand genres, one of Ohio's best widens his scope with a fiery intensity and a welcomed sound.

The headliners don't seem like they're really trying, so even when the other acts are, they're still smothered by their leaders' apathy.

Hail Mary Mallon gives us one of the better independent albums released of the year. The artists' ability to have fun, while weaving a complex and serious narrative is the thing that only seasoned lyricists could pull off.

Eminem and Royce Da 5'9" are perfectly capable of standing on their own, but it's clear that even after all these years, they inspire something special in each other.

All 6's and 7's doesn't disappoint as a well-balanced offering.

The album at times teeters on the point of greatness.

Looking to make a convincing splash across the pond, Tempah offers up a hearty sample of talent and charisma with the aptly-titled debut album Disc-Overy.

As much credit as the pair deserve for creating a modern approximation of Ennio Morricone, Rome is more likely to lead to watching one of Sergio Leone's classics than replaying the album itself.

Tyler, the Creator still achieves an engrossing dystopian vision of Hip Hop that refuses to compromise to what fans and industry critics demand of him.

Gunz N Butta has all the makings of a classic Dipset banger, but like many of Cam'ron's albums, suffers from a lack of both direction and editing.

The Book of David isn't Quik's finest effort; an album reportedly done in quick fashion, doesn't truly live up to Quik standards. However, it still holds its own in the current field.

The Beasties feel permanently young again having crafted an album that is just as consistent, unhinged and enjoyable as Check Your Head.

In sum, Golden Era is an extremely tight, solid package, clocking in at less than 40 minutes through ten tracks.

While it is impressive how much Albarn squeezes out of a piece of equipment that most would assume isn't up for the task, this is ultimately a tour-bus album--several songs are even named after the cities in which they were likely conceived.

Some Cold Rock Stuf continues with a gracious mixture of up-tempo and moody cuts, though some are more favorable over others.

The Family Sign is a heavy, moody album. There's not nearly as much humor here as with Atmosphere's previous two releases, but that doesn't make it any less of a quality addition to the group's catalogue.

It maintains a musical energy intense enough to fuel a good party, yet throws in just enough of a dash of introspect to remind listeners that behind Jim Jones' exotic cars, empty bottles left behind at VIP tables, penchant for the drug business, and platoon of fly females, the man still has a heart.

The group's unpredicatability and totally unique style is grassroots Hip Hop at its best.

Doggumentary isn't a frustrating listen because of shortcomings, as many of them that there are; it's frustrating because there are some real glimpses of late-career genius on it that Snoop continues to neglect.

Hardcore Taylor Gang fans will be happy to add this to their collection, but if you're expecting another round of Kush x OJ, this album will probably disappoint you.

Moreover, this work shows his place in Doomtree, but provides him a greater unique identity against his sister and brothers. Bad Time Zoo definitely raises the question of where the cages and bars are in 2011.

Full of political and social commentary, Pharoahe's W.A.R.-time performance will leave fans hoping he continues his trend of cutting the wait time between albums in half.

Give the Drummer Some finally officially opens the door for Barker to enter to world of Hip Hop he's always said he wanted to walk through.

While Shaolin vs. Wu-Tang at face value might not be the most agreeable title for Raekwon's album, a closer look would prove it's actually perfect.

Only traces of Lupe Fiasco's greatness are present on Lasers, and even then he sounds less focused.

There aren't any lackluster songs, and even though the lyrics and the rhymes are digestible on the first listen, they get better with more listens.

Whether you've been patiently waiting for five years or just recently got into Saigon's music, The Greatest Story Never Told delivers a stimulating message that is as cautionary as it is entertaining.

Gutter Rainbows is a fairly easy spin, and can go into the listener's steady rotation in a pinch. That being said, this feels a bit like a subdued version of Eardrum.