This is certainly my favorite British release of the year.

Talk about a debut album, Panic Movement is worth more than just NME hype.

Bee Hives is a mostly instrumental album that heavily favors the fuzzy keyboard tones and heavy reverb of the band’s early work.

He’s able to craft songs that are touching without becoming seriously over-sensitive.

Arguably the best album in their career.

This may be the kind of album that turns on a new generation of fans to the beauty of folk music, while approaching it from a modern perspective.

There is a certain magic at work here, one you don’t hear often, and one that belongs to true artists alone.

It’s easily one of the best pieces of work of both participants’ careers and a mark of the incredible talent both possess.

It’s so intriguing that I continually find myself tuning and listening to it over and over again.

A vital, winning album.

A coherent, moving album that cements its place in listeners conscience.

Milk Man is representative of just about everything the band does best: the melodies soar, bend, and crunch; the verse seems interminably driven by its own internal logic; and the band’s members still play with a near-telepathic singularity of thought.

Fall Back Open is a well-constructed modern pop record that displays some neat influences and also contributes a good deal of its own.

Pawn Shoppe Heart is a pretty kick-ass rock n’roll record.

Sitek manages to conjure a musical playground within which Adebimpe’s vocals can frolic.

Remarkable for its excellence and not its originality.

Arguably the best thing Phillips has done since Grant Lee Buffalo’s fantastic 1993 debut, Fuzzy.

An interesting collage of styles.

It’s no mystery that the band’s most focused, intelligible, and pop-oriented record is also its best.

Spirit Stereo Frequency is an entirely mature album that is not afraid to have fun.

The more poppy songs here are remarkably good.... But be aware that it's often a jarring listen.

Throughout the two albums, Lambchop effortlessly and repeatedly cross country, rock, soul, jazz, and cinematic borders. [combined review of both discs]

Admittedly, this two-headed beast, however benevolent, isn’t a flawless creation. There’s the inevitable White Album-style filler to bulk up the tracklist. [combined review of both discs]

This album is proof that his talent extends far beyond grunge and pop-rock and that he can write and play songs in just about any style.

This is a revelatory album for the Mountain Goats and the listeners; both Darnielle and the audience find new strength in his open vulnerability.

Confident, daring, regal, and altogether incredible, Bows & Arrows knows its bounds and casually out-steps them; simply put, it is the best record released this year.

The poetry of pain is so strong, and mixed with superbly produced music that doesn’t take a nanosecond for granted.

The diversity of the mixes on The Grey Album also is a testament to how carefully Danger Mouse has cut and pasted together his unauthorized sonic pastiche.