Parallax, unrealised masterpiece or not, sounds like the man in his bedroom with a thousand songs to leave unexplained.

Ceremonials is truly one of the few recent pop LPs that works both as a collection of individual songs and as a true album, with the right balance and flow to keep the record captivating from start to finish.

The Vision is a true mixed bag that while offering up a few outstanding gems, disappoints more than it probably should and reveals its maker as far less of a visionary as we all assumed him to be.

Lyrical content aside, Thirteen sees Megadeth do very little wrong.

Sure, Blitzen Trapper attempt to vary the formula a bit--there's the jangly campfire number, or that one about astronauts--but when it comes right down to it, everything's all the same.

Metals, in its muted, gray imperfection, feels vital--even when it isn't.

Long Live the King serves as a supplemental EP worthy of a glance from the casual listener, and most certainly from every fan.

So while Stronger has its redeeming moments, they mostly come when Clarkson does what she is renowned for doing and has already done better. It is a little too heavy on the balladry and serious tones, which are the same things that doomed her other two slightly lesser received albums.

Their debut LP does succeed, however, in meeting the expectations of their target demographic; delivering a consistent batch of ten catchy tracks that waste very little time getting to their contagious choruses.

Any message contained within Lulu is lost in the whirl of discordant guitar work, Reed's mutterings and the complete sense of abject disappointment that surrounds the entire album.

Audio, Video, Disco has neither creativity nor moxie, except in the sense that Justice is damn determined to give homage to the worst excesses of macho rock posturing.

Noel has crafted one of those rare gems in an LP where every track is a potential single.

In its execution, the record is near flawless, an essential distillation of the sounds of Gonzalez's youth, nostalgia and melancholy and happiness all mixed up into a sparkling pop stew.

The unfortunate harm that has come with Portnoy's dismissal is that the drum sections are now entirely bland and lack any real power. This combined with the band's decision to include three ballads are really the only things wrong with A Dramatic Turn of Events.

Night of Hunters feels refreshing, unique, and utterly lovely; it's another great success in a career that has quite a few of them.

For an album heavily predicated on Adams' historically hit-or-miss songwriting, Ashes & Fire is surprisingly steady.

From the ashes of Volta, an album that occasionally felt like a career-killer, has come an album of startling beauty, furious invention, and inviting, warm atmosphere.

As it stands, we have Neighborhoods, large and vapid, every bit an inconsistent mess as it is a guilty pleasure.

Their unique perspectives on racial and class identities are perspectives that hip-hop needs to remain vital, to remain that genre that united so many other groups throughout the genre's dominating decades. And the best part is that they fulfill that role while still joking.

Yes, it is undoubtedly inferior to its predecessor, but it instantly delivers an enjoyable crowd-pleasing package.

Youth Lagoon's debut consistently delivers on the suggestion of its appellation: youth.

Overall the album is a strong crowd pleaser so to say, though most of the album has to work a bit to get out of the long shadow of the major anthems hitting you early on in the first fourth of the track list.

Wilco have had their peaks and valleys, but they have never sounded as confident as they do on The Whole Love.

The Hunter is the album that shows that as long as Mastodon stay true to their selves, they have the creative wherewithal to not only endure but keep themselves in the spotlight for years and years to come.

Elsie is nostalgic, contemplative, and persistent; it's also one of 2011's best.

For a band that once never failed to make an impression, be it positive or nauseating, the fact that the best Hysterical can muster is indifference is simply disappointing.

Major/Minor is just another testament to Thrice's ability to do no wrong.

There is really nothing bad about what Opeth have presented us here, but after ten full lengths they're starting to develop a moderate case of Dream Theater syndrome, although obviously less self-indulgent.