Honestly, having heard these songs for years in a live setting, it did take some getting used to their alternate presentation on this debut full-length album. Since I was already so familiar with the basic structures, I couldn't help but be drawn in. I've always loved her clever lyrics and that hasn't changed a bit here. I certainly consider myself a big fan through and through but feel compelled to convince you to see her live to really GET it... the energy is too perfect. [tristen.com]

I think it's fair to say that most contemporary Soul isn't something that crosses my path in a pleasing way. It's typically a little bit too Adult Contemporary Radio; some aspect of it seems like the band is putting on airs to emulate the checklist of what a soul band should be... just feels off. However, none of that is true with the Alabama Shakes -- it sounds authentic. The vocals especially feel like they're coming from the heart and the explosive musical builds are just right. Maybe they just figured out how to emulate the sound just right but, either way, it works incredibly well. Looking forward to having more than just four tracks to play constantly. [www.alabamashakes.com]

One would think that an album with as much lore and history surrounding it as this one would actually come up short when it came time to actually enjoy the music. At least, the very least you'd expect the album to be mediocre -- so much hype affects expectations in a great way. But it doesn't. The album is great. Had it been released at its expected time it would have had a profound effect on the musical landscape we know today -- maybe those changes would have been subtle and things wouldn't appear to be that different, but it would have made a mark. I'm glad it exists in as many forms as it currently does, as it allows a rabid listener to discover variations and ponder the creation process. I don't really care for 15 tracks of studio chatter or the lamer "bonus" tracks, but the actual album is what I'd hoped it would be. A shock to all I am sure. [www.thebeachboys.com]

It's hard to believe that the band putting out this bit of soft-rock is the same outfit responsible for the absolutely energetic jams of Shake, Shake, Shake or Let's Talk About It. Half the EP contains some guitar noodling that steers towards the style of frat pop that I'm not too keen on, the other half consists of more tension building numbers. I'm happy to have more White Denim of any kind, but I think this officially signals their disinterest in being the Rock Band everyone wanted them to be. At least they're branching out; no stagnation in terms of style for these guys. [whitedenimmusic.com]

I'm not going to be able to properly articulate the differences between this album, Logos, the volumes of Bedroom Recordings or the last Deerhunter record without sounding like a bit of an idiot. The same quiet, cool, somewhat introspective, shoegaze vibe is still here; although it feels more upfront about its pop tendencies at times. In the end, it's an Atlas Sound record -- it's a little different from the others, but still springing from the same brilliant mind as the previous. If you're already a fan, you'll love it. If you're not, this isn't the worst way to be introduced to the offerings of Bradford Cox. [www.atlassound.com]

Honus Honus of Man Man, Nick Thorburns of Islands and Joe Plummer of Modest Mouse comprise the force behind Mister Heavenly. It is, to say the least, a damn fine rock record. All of the musicians involved understand the appreciation of a good hook and pop song structure, but they keep the energy level high and meld their individual styles quite well. Hopefully, this isn't a one-off side project ,as I'd be particularly keen to hear more. [www.misterheavenly.com]

Paul D'Amour is the man responsible for the bass lines you likely associate with early Tool recordings. He's also the man that put out an EP as Feersum Ennjin via Silent Uproar Records in 2005. Those five songs, plus seven more are now an official full-length album. I've heard that four of the tracks were intended for a possible Lusk follow-up, but have since been absorbed into this project -- fine with me. Intelligent, layered, non-angst ridden, hard rock is not easy to come by these days, so I'll take all I can get. [www.feersumennjin.com]

Did Jessie Baylin have a recording career before this free EP of cover songs done with Richard Swift? I don't care to know. There's only disappointment at the end of that question and I'm going to willfully embrace my ignorance on it. I have listened to this EP way too many times -- an embarrassing amount. The Sonic Youth cover is perfect and the little Swift backing vocals on the Thin Lizzy song just make my day. I look forward to her forthcoming album, Little Spark, with incredibly high expectations. [jessiebaylin.com]

You ever wonder why bands still make music videos, if they're just going to be shown on YouTube? Well, it can generate new fans and generate sales. Case in point, I saw the Funny or Die sponsored video for "48 Roses" and immediately pointed my browser to Amazon MP3 to get the whole album. It is, as expected, very much so in the realm of Calexico, DeVotchKa, etc. Fortunately, this isn't a genre I encounter too often, so it's a pleasant desert-tinged listen. [www.thebronxxx.com]

After my disappointment with Saturdays=Youth, I wasn't expecting much from this double LP. Anthony Gonzalez seemed to have moved away from the foreboding and shoegaze soundscapes into total pop territory. Much to my surprise, it seems he was able to blend the two styles for this undertaking. In fact, if you imagine that Saturdays=Youth never existed this seems like a much more intelligent follow-up to Before The Dawn Heals Us. [ilovem83.com]

Something about The Rip Tide feels more contemporary, more up-to-date, than the prior records. The same instrumentation is present throughout (though, occasionally some new surprises pop up), but it seems less forlorn, less evoking of some time gone by. It's tough to tell if this is good or bad at the moment, but it's fairly safe to say that if you enjoyed the previous Beirut albums that this will fit squarely into the same pleasure center for your ears. [beirutband.com]

It's a pretty gracious compliment to listen to this record and not be immediately reminded of Grizzly Bear. It would have been so easy for Chris Taylor to take some of his rejected or half-formed ideas and just toss them together, but this record definitely has its own identity. There's almost an R&B vibe to the whole thing; thick sounds, sweet vocals with an urgency around them that's hard to pin down. It's dancey, but in that way that reeks of sex. Every time I listen to this I like it more and more. [warp.net]

I am told this is Thee Oh Sees most accessible album; a good sign for me given that I've not really listened to much of them before. I have a good feeling that the higher production values and instrumentation on this one is a bit of a divergence from their prior works, so it may not sit well with the longtime fans, but, assuming one can move beyond that, there's a nice energy throughout and a definite weirdness. Not my favorite thing I heard all year, but glad I heard it. [www.theeohsees.com]

I'm a sucker for weird and distorted vocals. You put a vocoder on a song, I'm probably going to enjoy it ten times more than I would without it. With that in mind, it's hard not to enjoy this record because the vocal styles are all over the place. There's crazy electro-speak, ambient vocalizations, plenty of oohs and ahhs, smooth crooning, gospel style revelations and even squelching proclamations... all on top of incredibly thick electronic instrumentation. If you liked Mellowdrone, it makes sense for this to be the next evolutionary step. [bigblackdelta.com]

I do not count myself among the hardcore Wilco fans. I don't scrap up every little thing they put out or go out of my way to see them in concert or busy myself with dissecting the arc of their recorded outputs style. So, I am not one to wax philosophic about where this record stands in their pantheon of releases. However, I can say that Tweedy's voice never gets old to me, and the crazy guitar outbursts from Nels Cline are always welcome. In other words, it's a great record. That is, Another Great Record from Wilco. [wilcoworld.net]

Occasionally, you encounter an album that you know will grow with time. Fomo seems to fall into that category. It is immediately memorable, catchy, et al, but each additional listen increases the enjoyment levels from start to finish. It's probably very difficult to step out from your father's shadow when you're in the same business, but I can't imagine anyone saying that this isn't an incredibly strong piece of work on its own merits. I am a total sucker for his voice - particularly the way he so effectively layers them. Highly recommended.

Love it when a band makes a slow progression through various styles and sounds without losing their original charm. While the energy and enthusiasm of the first records is definitely still present here, it's a lot less manic and frantic. The underlying '70s rock vibe still persists ever so subtly, but it's more breezy this go around. In the end, it's proof that quality rock records can still exist. Oh, and it's got a flute solo that actually works - who knew that was even possible?

If Pete and The Pirates had a different (better) band name, they would likely get a ton more credit for writing the phenomenal songs that they do. I adored their first record and was highly skeptical that they could keep the same balance of energetic rock songs soaked with a wash of melancholy but, much to my pleasant surprise, they absolutely did. The guitars are big, the lyrics are clever, the songs memorable - everything a good Rock Song should be.

I really have no clue what to make of this. It's aggressive, it's dark, it's part rock, part electronic, it's anthemic and equally experimental. It blends all these things well, but it's still a fairly crazy listening experience. It doesn't seem to be catchy in the traditional way, but it's certainly got some engaging, fist-pumping moments.

The first album of Menomena remains my favorite era of the band. It had a bit more of a rocking edge to it and the production was a bit crappier than it is now, a perfect fit for what they were doing. While I understand these songs were cut for a reason - and rightfully so, the album wouldn't have worked as well with them - they still fill that part of my aural brain that loves their production values. Definitely a Must Procure for the Menomena completionist.