With False Priest, Barnes finally seems to be settling into his own skin, cherry picking from his long history and patching it all back together into something that Of Montreal could ride into the new decade. Just no more concept albums, please.

This album and a few videos of Stetson playing (the guy is a monster) will probably be enough to convince most people that he's a genius, but you don't need to be that smart yourself to appreciate what is probably 2011's most unique album.

Keely has stated in interviews that it's this kind of record that he grew up listening to and wanted to emulate, and maybe that's why Tao of the Dead ends up being the most focused Trail of Dead effort in years rather than a space-rock sham.

Black Cascade should be taken for what it is: fodder for the band's increasingly heralded live show and, at its simplest, a strong output in an increasingly stagnant, attention craved US black metal scene.

The important thing to note when it comes to In Prism is that as hiatus records go this is one of the best in the last couple years.

There are moments here worth returning for time and again, but not much to put Eternal Turn of the Wheel in the same level of esteem as its distant predecessors.

While it is still caught a little in-between moods and is clearly front-loaded, ‘The Optimist’ feels more instinctive than ‘Fantastic Playroom’, and is ultimately a step up because of that.

Hurley proves that Rivers still has some gas left in the tank.

One gets the feeling that they will have to make such a decision prior to album number two. Until then, what we have here with Lucid Dreaming is an enjoyable--but flawed - debut LP that hints at something special, but whose sum of its parts are ultimately greater than the whole.

Temporary Pleasure is a glitterball of an album, shining just right when the light hits and falling where it doesn’t, but like any party, it’ll get you moving if you’re in the mood.

By sheer strength of will the band has salvaged an album that could have just been a derivative mess and created something pretty damn good in the process, and for that brand new eyes should be praised while we await something even greater from these boys (and girl).

While not entirely original or deserving of any genre superlatives, Baptists' debut LP is still a welcome addition to the recent crust revival by Southern Lord Records.

God Save the Clientele is a good record: mellow, pretty and, at times, quite fun.

The songs that hew closer to pop than hip-hop are the strongest because they show the most confidence, both vocally and musically. That there is even a disparity, however, points to the biggest problem with thank u, next: its occasional lack of a clear identity.

The great thing about Red is that Dia had a hand in writing every song, and it's that personal stamp that allows the album to appeal to longtime fans despite its musical direction.

Resonate with them, and you learn to speak about yourself in a way that carries meaning--and this is what What Now does best. Take a walk with this in your headphones and look at the people passing by; you’re allowed some isolation among others.

With Noble Beast, time stands still for a brief moment until a song eventually hits a certain plateau, but sometimes that plateau can be too distant.

Kindly Now isn't perfect, and feels more like a transition to something truly spectacular where everything in Henson's bag of tricks can be perfectly utilised; for now, it'll do just fine.

More lyrical than Lil' Wayne and catchier than Young Jeezy, T.I. has once again proved the fact that he represents an excellent blend of lyrical talent and pop sensibility.

The production is solid and his voice retains that smooth edge that still carries with it the slightest sense of vulnerability.

This record is very Crystal Castles of them, which is altogether a compliment and a criticism. It’s witch-house pop. You’ll find plenty to enjoy here undoubtedly, but there is still unrealized potential within White Ring’s arsenal waiting to be discovered.

The album features a great number of their best songs to date, a couple expected stinkers, and some expected and unexpected lyricism.

The point is to not look at What a Time to Be Alive as any sort of triumph of ambition and music, but rather as a solid assortment of irresistable bangers from two artists for whom that shit comes easy. It's not the accomplishment, it's the victory lap.

Kanye West’s fourth album 808s and Heartbreak follows the crowd rather than leads it. Where he steps, the footprints of T-Pain are readily visible. His use of auto-tune throughout the album is heavy, and in songs like Heartless and Love Lockdown its use is appealing.

The Other One takes its metal/pop influences and fuses them into a seamless sound that trades Kawaii for seriousness and atmosphere. While it might be initially disappointing to lose a decade of Babymetal influences, it was probably time and the more mature and serious Babymetal sound is still as captivating as always.

Aspiring to find a middle ground between her folk background and the burgeoning success of electro-pop is an enterprising objective, but it is one which Goulding predominantly succeeds in through her genuine sincerity.

Without any quality control or stylistic cohesion, Usher stumbles into his best record since Confessions. If only this was better planned.

The brevity of this soundtrack makes for an overall calming effects with a few great moments.