This is a portrait of a band firing creatively on all cylinders. Their time is now. Don’t miss out.

These beautiful, beguiling melodies make for an album that’s so rich and regal in both style and shimmer, it’s simply stunning to say the least. Prepare to be enticed.

Mostly it's hard to say what puts Veronica Falls over the top in a genre where so many fall flat. Enthusiasm? Personality? Songs? Probably all of that, as well as the indefinable quality that makes old genres come alive again.

With Sagara, Disjokke splits the difference between late-period Cluster and Alan Lomax, offering a most unique world view on 21st Century Nordic festival music from one of that nation's most open-minded visionaries.

Coming in at 11 songs, there is hardly a weak one on Go Fly a Kite and no real need to call out one track over the next, as all are pretty much worth the price of the album.

Internal Logic pits fractious churn and friction against head-spinning harmonies, and here's the surprise, everybody wins.

Not a weak track on the album.

Tunes that are both brainy and catchy, full of life.

For their third album together, John Elliott, Steve Hauschlidt and Mark McGuire bring the same sense of fearless adventure to them modular synths, creating a seven-song cycle unlike anything in the Emeralds canon yet.

While obviously studying their heroes with a fine tooth comb, Big Troubles has done a perfect job of combining past and present guitar pop into one 30 minute stew.

This is a just a great sounding record. In truth; just great, period.

Even if it's in small phases, Moon Duo continue to evolve as they revolve.

Ufabulum easily stands as his strongest and most consistent work since Go Plastic.

He delivers a drastic shift in style that anyone enrapt with the gauzy pop euphoria of the first two Crayon Fields classics never saw coming.

Jukebox the Ghost proudly wear its pop influences on their sleeves and quite frankly don't care whether you like those influences or not.

Fourth Corner is one of those rare releases that leaves its listeners wanting more.

This artistic upgrade from their previous work is further enhanced by a significant expansion of their sonic arsenal, including piano, cello, Mellotron and female backing vocals courtesy of Crystal Stilts/Dum Dum Girls/Vivian Girls drummer Frankie Rose.

The music appears deceptively simple and unabashedly blithe at times, but regardless, the emotional undercurrent clearly comes through.

The lush production and whimsical tone complement May’s discerning ear for song arrangements, making Warm Blanket his most endearing effort yet.

This is more adventurous fare but never forgoes its footing in melody land--well, with the exception of the off-putting "Rolling," a short track that unfortunately opens the record and sounds like a symphony warm-up with six instruments headed in different directions.

Never before has there been a band that has brought all those elements [Crazy Horse, Television, Quicksilver Messenger Service and The Dream Syndicate] together in a manner so crafted and explosive as these kids do with their fevered compound of ragged rock and summertime roll.

The Black Session is a fitting testament to the current state of one of the English underground's most unshakable acts.

This is an elegant product of hard work and musicianship that shouldn't be dismissed because it is not entirely new material.

Yet even at its most opaque, Sun Full and Drowning connects subliminally, with its deep reassurances of folk-rock melody, its shimmering, vibrating intersections of interstellar guitar, its grand sonic spaces.

This is an essential CD for both the serious and casual fan.

This is a feel good album about terrible times.

The entire affair is more open, relaxed and loose than he's ever been on record, qualities that appear easily and readily during his live shows.

Rarely do mistakes of one’s youth sound so beautiful.