At times, it can be a difficult piece of work and its dark themes may require a few spins to grow on the listener. Irrespective, Drums and Guns is a fine piece of work, Low's best since Things We Lost in the Fire.

It's different, its harder, and its honestly a bit of a disappointment.

Introducing Joss Stone has the sound of an artist who is beginning to go places, not of one coming from somewhere or standing still.

It’s safe to say that, Person Pitch just might be album of the year (so far, at least).

For the most part Hats Off To The Buskers is second-tier British post-punk.

Back To Black is by far the best popular soul album I’ve heard this year.

Bouncy bass and catchy vocals keep it going, but sometimes it seems Albert Jr. has nothing substantial to fall back on.

Most of these songs are melancholy and soft, waiting for a darkened sky to play to.

It's about as good as Funeral and features some truly wonderful songs; although The Arcade Fire have certainly progressed, Neon Bible features everything that made them special in the first place, to even more epic proportions.

Cringe-worthy lines are unfortunately rampant through The Weirdness’s (long) forty minutes.

His conception of melody and harmony is well above the average hip-hop artist, but the album as a whole is very flat and boring.

You, You're a History in Rust is nothing short of an experience; emotional enough to take the listener on a journey, and subtle enough so that not a moment of the record feels contrived.

While the most fitting genre to place Dr. Dog’s latest, We All Belong , in may be Indie-Pop, the 12 songs that make it up don’t sound a whole lot like The Shins or Death Cab for Cutie. We All Belong instead sounds like an album that was buried in Brian Wilson’s backyard for 40 or so years.

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.

Despite pulling out all the stops towards the end, The Cost is everything The Frames usually eschew: it’s bland, it’s monotonous and it barely achieves a tempo shift across forty-four minutes.

Copia is Cooper’s greatest work to date, but it leaves even more roads for him to take.

A masterpiece of edgy, pop-infused rock composed with intelligence.

Essentially, Infinity On High is From Under The Cork Tree, except this time done well.

It is something brand new and completely unexpected.

Norah Jones has the potential to be one of the defining singers of the decade, but her songwriting needs to take on more styles and more voices.

Busdriver gives his best performance thus far.

Hella is stuck in the realm of Yowie -- playing with excellent ideas, but too stuck on defining themselves with an all too familiar genre.

While the album as a whole is far from being perfect, moments of it are some of the most gorgeous and interesting things I have heard.

Most of The Bird and the Bee is average, albeit highly danceable and fun, Pop music: worth the download, but hardly the purchase.

Yusuf hasn't missed a beat, as this is still the same sound he made famous on 70s staple "Tea for the Tillerman" and later perfected on "Teaser and the Firecat", and while it's certainly not as impactful, I'm comfortable saying that "An Other Cup" comes pretty close.

It's like the debut, but slightly different, definitely better.