What Do We Do Now is a smörgåsbord of everything we have come to expect from a J Mascis project, and while a multitude of listeners may find themselves clamoring for fresher ideas or a deviation from his tried-and-true formula, it is borderline impossible to listen to the indie rock legend’s latest output and deny that they got what they came for.

Hill's End is an album of good songs with good hooks; who could ask for anymore?

What Silversun Pickups have done is settle into a sweet spot. It might not sit well with everyone involved, but it takes nothing away from what this is: a gorgeous if slightly safe album that proves this band hasn’t lost their edge when it comes to making captivating music.

From here ["Man on a Mission"], the album meanders a bit, yet manages to maintain a solid presence. No Rain, No Flowers ends up their most mature effort to date.

There's a sense of detachment when I listen to this record that's weirdly hard to explain, and it's certainly hard to shake. As it is, anyways, Port Entropy's still vastly enjoyable on a surface-level; this certainly counts for something.

While clearly it is their best work to date, the purposefully epic moments of the music just don’t hold the same candle to the ones that were found on their earlier records.

This split is a nice mix of an old band showing they can still play with the best of them and a band that's still trying to figure out just who they want to be.

Battle Studies, by comparison is relaxed and laid back, it’s feet in the air and stripped of extravagance with Mayer simply doing his thang with ease and pazazz.

In summary, it's a good album and a perfect indication of the progress Tankian has made and will continue to make as a musician.

Bandit is a smart album made for smart people, and something that garnered them critical acclaim in the past is lost. So yes, One-Armed Bandit is a good record. But Jaga Jazzist can do better.

It is easy to tell what you are going to get with Monolith of Inhumanity, and the album delivers just what you expect plus a bit more.

PQ are at their best when they’re short, sweet and erratic.

The release may not be as fun as…well, Fun., but it marks yet another quality entry into Ruess & co.’s catalog.

Icky Thump, despite the presence of some simply insane over-indulgence, is a great album.

These songs aren’t necessarily greater than the pop tunes around them, but they are different, more singular and more interesting.

She appears to be in the right place creatively, but she just needs to take her own advice and break free.

While they may be overzealous and inconsistent and pandering, there’s a certain gratitude reserved for the fact that these people, these dynamics, this electricity, all ended up in the same place at the same time: a trashed and cluttered share-house in California.

There’s rhyme to their reason, and the album’s flow is dictated with confidence rather than precarious doubt. The whole thing is refreshing, and Black Rivers’ willingness to experiment is a trait that will definitely resonate with you following the album’s conclusion.

Trimming would have helped, still, a portion of his fan base might have asked for this full retreat into darkness for quite a number of years now. It’s ironic how Lanegan’s most tumultuous experience came wrapped in one of the most toned down collections of songs so far. Also, the difficulties of relating to these stories refrain the LP from becoming one of the strongest in the catalog.

Impeccably produced, Conditions is a legitimate contender for debut album of 2009.

Despite its flaws, Hotspot deserves its place on the upper shelf of Pet Shop Boys’ discography. It’s the most complete journey from this Stuart Price trilogy, although not the most rewarding to be honest (the spot still belongs to Electric). Even so, it’s admirable how the duo manage to be this consistent and have removed all signs of rust lately.

Reset, in spite of its flaws, still offers a unique wrinkle in the Animal Collective fabric that's worth exploring. Even if you only come back for the saccharine highs, some of the record's more subtle moments will continue to tug at your ankles like a strong undertow.

Considering what kind of experiment this was, it turned out pretty damn well.

Overall, Melanie C is just good ol’ fun that does exactly what it says on the tin, and occasionally unearths moments of greatness like “End of Everything” and “Who I Am” which elevate the album into more memorable pastures.

It’s also an extremely solid record that comes highly recommended for any fan of its predecessor.

Overall, the album achieves its goal, unfolding a soulful listen with just about enough songs with vocals to keep you attentive throughout as well. It is also a nice change of pace for those who follow Moby’s more recent releases, but worth checking for anyone who is into ambient music too.

It is an album that builds on everything she had done previously, but with a much more personal and mature touch than I ever expected from her.

What Go lacks in depth- yes it really is this cheery, eat your gummi bears- it makes up for in being honest. Go is the most candid, open look into Jonsi Birgisson we've ever received.