As it stands, Black Sea is a solid, if not entirely groundbreaking.

Somewhat hit or miss pastiche pop, Parallax Error Beheads You is harder to like that it should be.

It's true that if you've listened to a lot of kraut music, you've probably heard a fair amount of work like this, but Reinhardt has put together a lovely little release here that's topped off with some great artwork and design.

A weird little debut, this one has some promising moments.

In the end, there's a fair amount more musical variety on Fordlandia, but at the same time it doesn't hold quite the emotional resonance that past releases from Johannsson have had, largely because the music on the release feels much more obvious.

Less visceral than "Cryptograms," this follow-up shows two sides of a group that still hasn't quite figured out exactly what they want to be.

In the end Just A Souvenir isn't quite as consistent as it could be, but it offers a nice new direction that will likely have a bit more staying power.

There are still some fine moments here, but there's more chaff than usual.

The group largely plays around in well-established territory melodically and musically, but it's the small twists and slightly more upbeat tempo that make the release feel more exciting than their past efforts.

Weird enough to have an edge, but a huge step up in terms of production and song-writing, this is a big move forward from the group.

Inconsistent, but charming in places and insanely catchy in others, Everything/Everything presents Simon Bookish as someone to keep an ear out for.

It's still another unique and often-beautiful release from this young artist, but it doesn't feel quite as invigorating as his debut.

It's perfect for backing music, but has enough going on that you might find yourself seeing mirages as well.

Woozy and stark, City Of Refuge is one of those releases that never really shifts dynamics too much (there's no rhythm section on the entire album) and feels a bit longer than it actually is.

Mathy, but hyper melodic, it packs more ideas into forty minutes than most releases that are much longer. Stern has clearly side-stepped the sophomore slump.

There's a lot of great moments here, but is the least consistent album from the group in awhile.

It's the sort of release that will drive some listeners completely nuts simply because of the construction techniques, but it also powers forward with such a giddy energy that it's hard not to get wrapped up in it.

It's not always hitting the mark, but over the course of eleven tracks and just under forty minutes, XX Teens certainly show they have some chops to keep an eye on.

If you've heard any of his previous work (including the fairly recent Night Ripper), you know the modus operandi for Girl Talk, but Feed The Animals is even on another level in terms of sheer density. Because of this, just about everyone who hears it will have different favorite moments that stick out to them, and that's part of the beauty.

If you're a fan, there's certainly stuff you'll enjoy here, but if you're looking for them to take another step forward, this might not suffice.

If the group can somehow capture the more experimental and even odd edge of their different mixes, I think they might have something going. When they're just doing their thing, they simply sound like far too many other bands that are just trying to milk the legacy of the Jesus And Mary Chain a bit longer.

This one plays out slowly. There's no real rhythms to speak of, and it's easily one of the more harsh releases (at times) that I've heard from the Kranky label in some time.

It's a great return to form from the group, and easily their best full length since they've started incorporating vocals on nearly every song.

The New Year is a workman-like group, and this is yet another solid album from them.

I wasn't expecting the group to completely break from their ways on this follow-up, but melodically and musically it's a little too close to the debut to really feel like it breaks any new ground.

While the hooks are certainly great in places, it jumps from place to place so quickly that there's never anything for the ear and brain to go back to.

There are plenty of polyrhythms, but not much to hum along with. A big step up from their debut, this one will be much loved by riddim heads.

Spaced-out and seriously hypnotic, Where You Go I Go Too is one of those releases that is custom-made for late summer evenings. It's not too loud, but at the same time has enough of a pulse to be a guide for steady movement.

Nothing Is Precious Enough For Us lets loose just enough times to keep from sounding a bit too soft and steady.

Donkey is about what one might expect from the group for a second album. Those who liked their rough edges the first time around might find themselves a bit disappointed by the new sheen, but they'll likely gain more fans they they lose.

Although it's loud in places, it doesn't sound as overstuffed as the past couple releases from the group, and that's a nice change.

An exciting release that deepens with further listens, Mothertongue is a great step forward from Muhly.

Paavoharju have put together an entrancing second release.

Not only a one of the debuts of the year, but also one of the better releases in general, this self-titled debut from Hercules And Love Affair is worth picking up.

I'll give them some credit for trying some new things, I only wish they would have taken things a step further.

In the end, it's not going to change the world, but it shows that the group is definitely expanding (in a good way) their sound from their early days.

It's not that I have anything against the group doing something more poppy, it's just that the result sounds far too polished and plain boring compared to their regular work.

It's not the sort of release that's going to really knock you out, but it's spry and sharp and arrives as just the perfect time in early summer.

As with many releases like this, I wish the ride were just a little bit more bumpy just to throw off expectations, but nonetheless Fleet Foxes have put out quite an enjoyable little debut here.

With ten songs running a hair under forty minutes, it's a concise debut that hits the mark a good portion of the time while introducing All The Saints as someone to really keep an eye on.

Considering at least part of the groups charm was their ability to surprise, there's simply not enough of that here as a whole, and In Arm's Way suffers because of it.

Taking things up a small notch in terms of recording quality (medium-fi would probably be apt, as it's still a long shot from glossy), this is certainly a more cohesive release than their debut, with some absolutely killer songs mixed in with some rather middling ones.

It's one of the most vital releases I've heard this year, and while I can hear fans of their past work being a bit puzzled, I simply can't imagine anyone not being at least a bit thrilled by it.

If you go back to the touchpoints of the era in terms of music, there's certainly plenty of awful lyrics, and while I can often overlook lyrics if the music itself is strong, Saturdays = Youth sometimes lapses into a sort of emo shoegazer feel that's simply a bit too sickly-sweet for me.

While it's true that the sheer precision of their playing is what makes some songs as great as they are, the organic touches of horns and textural washes of electronics help the group move into ground that hasn't been mined as much.

Unless you're a big fan of the group, though, you'll probably find Do It! more than a little frustrating.

Although In Ghost Colours is certainly a step up in terms of how cohesive it sounds, it loses some of the spontaneity in the process.

It's the sort of album that at times sounds like the group simply threw everything against the wall and hoped that something would stick. In many cases, it did, but in others it sounds like a raucous mess.

Not as good as the best work from Kozelek, and a long shot from the worst, April is a solid, if not surprising album that should be just enough for fans.

In the end, Parc Avenue finds a band creating some amazing music, but still putting out some feelers along the way.

It's not their best work to date, but it definitely taps into a deep well of both anger and despair.

The motions are there, but Beat Pyramid lacks real true depth.

If you can't get enough of Bejar, you'll obviously want to check this out, but most others will feel like they've been down this road before.

It's not quite straight-up noise, and it's certainly not dance music, but if you like a bit of both, this debut from Fuck Buttons should make you a bit giddy.

Sounding somewhat like a lot of groups but not exactly like anyone, this is an album you shouldn't miss.

It's not the sort of release that throws a lot of curveballs, but Saturnalia is nonetheless a solid album from two veteran musicians.

It's not a world-changer, but it's certainly one of the more fun pop albums that I've heard this year so far.

Layered, and a bit rough-around-the-edges, Sean Lion is also a heck of a lot of fun, and marks The Ruby Suns as a young group to keep an eye on.

Great in moments and undecided in others, The Grand Archives show hints of promise here, but don't really have enough to set them apart.

Discombobulated and downright clunky, Made In The Dark is a bit of a step back for Hot Chip.

It's fun stuff, and I imagine their live show would be even better.

It's probably not substantial enough that it will stick in my head all year (and possibly not even until the ground thaws), but it is a highly enjoyable pop album from a young group who are riding some hype and getting slapped with backlash at the same time.

It seems like in the process of tightening up their sound, the group also left out some of the more over-the-top qualities that inhabited their past releases. Keep Your Eyes Ahead sounds a lot more warm, but at the same time is more safe as well.

It's the sort of release that metal fans will probably like because it offers plenty of chunk-tastic riffs (that aren't too far off from newer, more polished work from Helmet), but dub fans will probably steer clear from because of it's focus on said heavy-fisted bombast.

After multiple listens, there are certainly a batch of songs that rise like cream to the top, and while the release doesn't have seriously low points, it's not as solid throughout as the best work from the group (especially towards the end).

One of the most fun live albums I've heard in a long while, this is worth checking out even if Daft Punk's most recent offerings haven't done it for you.

Like the title suggests, this album is grand in many ways, but the sheen also wears off somewhat quickly at the same time.

If you already have the original download from last year, there isn't a ton here that's really alluring, although the three bonus tracks are all pretty good in an of themselves. If you haven't yet heard this one, its by all means time to pick it up.

As with most other first releases, though, it's a a bit inconsistent in places, but all in all, Smoke is a fun and sometimes great debut from a young artist.

Needless to say, Untrue shatters any ideas of a sophomore slump.

With ten songs running under forty minutes, the haphazard track order (with production quality going from super lo-fi to pristine) and dour feel ultimately make for a rather challenging listen.

If you're a hardcore fan of Underworld, you'll find some things to love here (as I did), but others will probably want to reach for something more consistent.

It's certainly pretty, and definitely has its moments, but it simply lacks the vitality of past work.

The Flying Club Cup doesn't feel quite as revelatory as the debut from the group. That said, it's still a solid follow-up, and the collaboration with Palette really pays dividends in grandiosity of sound.

With twelve songs running just about an hour in length, Random Spirit Lover really starts to wear out its welcome during the latter third to quarter. Fans of their past work will definitely find lots to love here, and they will likely gain a few converts, but I still wish they'd focus a bit more.

This is Jens Lekman, and what he does best is create overly-sweet pop songs, so it's hard to complain too much.

It's definitely ambitious, and probably a little pretentious in places, but it works darn near all the time and is a downright joy in many places.

The album is rather hit or miss. There are a handful of standout tracks, another handful of ones that are simply decent, and yet a couple more that don't really raise the pulse level at all.

Among his best work to date, Cosmos finds Corona expanding his boundaries even more and in the process creating something more timeless.

It doesn't seem quite as strong as Feels, but also seems like the group might be on the verge of something even better.

Despite all the different guest appearances, Level Live Wires never feels hodge-podge or unsteady.

Like her debut, Kala is somewhat inconsistent, for slightly different reasons. While there isn't the distraction of short tracks and skits to break the flow, some of the songs essentially do the same thing by shooting high and missing the mark.

It's pleasing, and sometimes outstanding, but it ultimately feels a bit too safe and soft.

It's a kick in the pants debut, and here's hoping they carve their own unique sound out even more in the future.

Goodbye has a tendency to blur together in many places during the course of ten tracks and just under an hour in running length. If you like his past work, you might want to check this one out, but others will probably want to take a pass.

In essence, it still sounds like Fridge, but they've decided to look backwards just as much (and possibly more) than they looked forwards.

For every section that locks into something juicy, it's offset with three others that are just plain bad (or close to it).

If you enjoy ultra mellow jazz meanderings with the occasional slinky vocals that sound like they could be playing in the background at a mainstream coffee chain, Ma Fleur will provide in spades.

At times, lyrics seem a bit too obvious, but its usually at these points that Dear also pushes his songs into more over-the-top mode, making them feel a bit more sarcastic at the same time.

It's dance music that's hard to dance to and post rock music that's post what everyone else making post rock is doing. Oh yeah, and it's also one of the best releases of the year.

In terms of Wolf Parade side projects, this one is no more trying than Swan Lake or Frog Eyes, but it's obviously nowhere near as immediate as work from the main group.

While there aren't any downright bad tracks on The Magic Position, it does have several places where it seems to lose a bit of focus before honing back in on things again.

In the end, The Reminder is by no means a bad album, but it certainly could have used a bit more trimming and a little less of a focus on the soft pop side of things.

The album is seriously frustrating.

Floating somewhere in between his previous release under the Dntel name and The Postal Service, Dumb Luck will likely slightly frustrate fans of each a little bit, but in other places provide some nice payoff.

Essentially, if you've heard the group before, you know what you're getting into here, and if you enjoy them you won't be let down.

There's still plenty to enjoy, but it's by no means a smooth ride.

Call it music for lucid dreaming, call it music for daydreams, or call it music for simply strolling in the dusk, this is another album that will stretch time and take you to another place.