The National delivers an amazing, soulful, and rocking show at the House of Blues in Orlando that Jeff Schweers equates to a near religious experience.

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.