Sincerely, Severely (Orange Records). Review by Jeff Schweers.

Lustre (Nice Music Group). Review by Sean Slone.

After spending decades as a session musician, Bay Area blues artist Tom Casino carves his own identity in the aging genre by adding drunken wit and Ramones pop-punk to the mix.

Let the Hard Times Roll. Review by Tim Wardyn.

Potato Hole (ANTI-Records). Review by Joe Frietze.

Oh My God, Charlie Darwin (Nonesuch). Review by Matthew Moyer.

Out Into The Snow (Team Love Records). Review by Carl F Gauze.

Délivrance (Leaf Label). Review by Matthew Moyer.

In light of the recent charges levied against Jammie Thomas-Rasset in the RIAA’s case against her, we’ve unearthed this review on Steal This Music, a book concerning the history of copyright in music.

A Sucker’s Dream (Vanguard Records). Review by Tim Wardyn.

Baby (Burnt Toast Vinyl). Review by Carl F Gauze.

Weary Things (City Salvage). Review by Carl F Gauze.

Matter And Light. Review by Carl F Gauze.

Ample Fire Within (Southern Lord). Review by Matthew Moyer.

Still, Nothing Moves You (Bridge Nine). Review by Jen Cray.

You Brought a Knife to a Gunfight (Tom Perkins Entertainment). Review by Aaron Shaul.

Sing This to Yourself and Other Suggestions for a Personal Apocalypse (Charnel Grounds). Review by P. McEver.

Operating in a genre dominated by paint-by-numbers R&B, Zaki Ibrahim paints soul – outside the lines – with a purple paint brush. S D Green talks to the emergent Canadian soulstress about globalism in her sound, the unlikely influence of Tom Waits, and why critics refuse to believe Canadian artists have soul.

Tom Waits brought his Glitter and Doom tour to Atlanta, and James Mann lived to tell the tale. The boy is changed!