An early favorite, The Shins reveal their genius in waves, once the initial differences from Chutes Too Narrow are overcome. Strong from start to finish, The Shins showcase their versatility and masterful songwriting as well as their ability to mature.

Feist pushes her boundaries and breaks free from her tried-and-true quiet indie-jazz into new territories. This different direction manifests itself on spare beauties like "The Water" and the interesting "Sea Lion Woman".

A strong follow-up to Twin Cinema, the band makes good use of their four main vocalists and writes captivating songs which expand upon, but don't mimic, their previous works. Standouts are "My Rights Versus Yours", "Challengers", and "Mutiny, I Promise You."

A recent discovery, I gave it a listen because of the impossibly beautiful "Re: Stacks", one of the best songs I have heard in a while. Whether the words have meaning or not, the emotion conveyed in this song is incredibly powerful. The rest of the cd does not disappoint either, and "Skinny Love" and "Blindsided" are excellent as well.

Although the direction the band has gone in is regrettable compared to the story-based prog of their first two albums, the individual tracks on this are strong. The solos are very good, but Claudio's deepening, hoarser voice does not become him. Also, the final track is no fitting ending for the saga.

Strikingly different from "Our Endless Numbered Days", this album brings Iron & Wine out of the realm of sleep-inducing folk to a more upbeat and complex work that features a range of styles, from the quiet beauty of "Carousel" to the interesting "Boy With A Coin".

I am a big fan of all Rush eras, so I won't be one to condemn this for not being 2112 or Moving Pictures. It succeeds in bringing some more classical Rush influence to the newer sound they've been working towards. However, it lacks some of the lyrical magic with which Peart has made his legacy, and it doesn't end anywhere near as strongly as it starts.

My first reaction was disappointment with this release, but the emotion in this CD is so different than earlier efforts that I had to listen to it with a different attitude and expectation. The first half of the album is magic (although the second half still leaves much to be desired) but the real gem is the title track, one of the finest the band has written.

One of the best non-orchestral soundtracks to a movie I've ever heard, this preserves all of the best songs from the excellent movie (which, unlike many movies about or featuring music, are actually very good). Glen Hansard and Marketa Iglova put forth some beautifully written and sung music, which is, above all, sincere and heart-wrenching, even when it isn't pretty.

This is one of those follow-up albums that actually make you appreciate the previous one even more. I liked "So Jealous" but "The Con" made me like their music much more, despite the fact that I would rank it not much higher than "So Jealous". Without compromising their unique, even harsh sound, the twins have managed to make their music more catchy, accessible, and musical with "The Con."

Admittedly, Sia's voice was a turnoff for me from her work with Zero 7, but I decided to give it a shot anyway. I'm pleased to say that it grew on me... strongly. With such an excellent range of songs, from soft and sweet to in-your-face, Sia's popularity is well-deserved.

Singer-songwriter Brandi Carlile captivates the listener with her passionate delivery, beautiful lyrics, and varied songs. Practically exploding with passion, the title track almost immediately hooks the listener, but the treasures go far beneath the single. Check out "Turpentine", "Have You Ever", "Shadow On The Wall", and "Cannonball".

Though it has roots in the genre of modern pop-rock bordering on emo, The Dear Hunter distinguishes itself from similar groups by being musically gifted. Their music incorporates elements of jazz, blues, and classic rock, but suffers from coming too close to the unnecessary screaming often found in the genre.