Shine a Light doesn’t defy genres; it defies poseurs. It isn’t fashionable; it’s a staple.

Lungs showcases Florence's dramatic voice as an instrument that the other instruments follow, from the urgent, rhythmic drums on "Drumming Song" to the fluid harp runs on "Rabbit Heart (Raise It Up)."

The importance of telling the tale far exceeds the risk for Moddi and so he should be praised for bringing these songs and their stories back into mainstream attention across a captivating musical and historical record.

Through its eleven songs Komba is exactly what we all need from time to time: a hopeful rejoicing in life itself.

There may be a lack of deliberation or direction in this record, but Big Echo is nothing short of a triumph for The Morning Benders and will be remembered by many as one of 2010’s most ambitious records.

Focusing on the music and what's happening within and around it – enables Hive Mind to deliver a truly excellent aural experience.

Lost in most of the noise and clutter was Jenn Wasner’s fantastic voice and Andy Stack’s ability as a “wall of sound” creator. On their new album, The Knot, these skills are not only refined but they showcase a wider, more advanced decadence and a band that sounds that much better, because of it.

Fans of previous M83 albums should still enjoy Saturdays as it doesn't veer too far from the template established on the past few albums.

See You in Magic's tracks are so consistently good that determining the album's best poses a challenge.

The album finds the Vancouver collective making only subtle yet effective changes to the way it does business while the songs remain as sturdy and taut as ever; it's one of the most reliable releases you're likely to encounter this year.

Together, the imagery and music provide a nostalgic, innocent atmosphere, and an album worthy of a listen.

I cannot overstate enough the cross genre appeal that is contained within Sentenced to Life. There is literally enough here for everyone; while it lacks a black metal vibe I feel it would still be relevant enough for those that jam out with corpse paint.

The band's most “accessible” album to date.

He's been able to continue on his path without compromising his talents or ability and with Underneath the Pine, this is now two outstanding albums in the span of just as many years.

Appropriately for an album called The Gathering, the esthetic Arbouretum achieves feels somewhat monolithic--overarching and whole instead of neurotic and splintered--and in this manner should provide healing properties for a psyche battered around by all the little specifics of daily life.

Before Today is another fun Ariel Pink pop/rock record, more solidly constructed than any of his past efforts. Even more importantly, it’s also more joyously musical than most full-lengths that have been coming out in recent years, aware not of self and scene but only of the fact that music is fun and feels good.

Mudhoney is a new band lyrically and emotionally.

Whilst some hooks aren’t quite high enough in the mix and the gauziness is almost as thickly-spread as on its immediate predecessor, De Facto pushes Lorelle Meets The Obsolete’s world into subtly groovier and wider-screen realms with admirable ambition. It captures a band reaching out whilst remaining true to its belief systems, with very convincing results.

She & Him is the product of folk troubadour M. Ward and actress Zooey Deschanel and the results are a beautiful product.

It's messy and it's fun. Sometimes pop music isn't meant to be cleaned up and polished to death, and here is proof of that.

Gratifyingly, despite Four Stones ostensibly being an oddments compendium, it hangs together with remarkable cohesion. In fact, its five wordless pieces segue into one another as if they’d always belonged in one place.

Arguably [Cave's] most convincing collection of boisterousness and drama since 1994’s Let Love In.

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]

Amanda Palmer Goes Down Under is, simply, a lot of fun. Some of that fun might most appeal to the countries it's directed at, but those feeling no particular kinship to Australia or New Zealand will still find Amanda's quirkiness endearing.

It almost seems like the Flaming Lips has regressed a little, structurally and rhythmically speaking.

Whilst ultimately Possible Dust Clouds may fall short of being another truly seminal Kristin Hersh long-player--which will always be hard given the stiff self-competition of her own bounteous back catalogue--the renewed sense of dynamism, diversity and drive within confirms that there is still plenty of propulsive creative fuel left in the tank.

Collectively the nine songs that make up False Beats And True Hearts don't stray demonstratively from the path that Damon & Naomi have followed near-religiously since being coaxed into cutting More Sad Hits, but its subtly refreshed vocal shifts, balmy inviting arrangements, blur of rural-meets-urban asthetics and a clutch of mesmeric moments make it a record that could one day be considered as a true keeper in the couple's discography.

While a few songs are leftovers from Angles and some were churned out “like the good old days” as they put it, Comedown Machine is a terrific release to The Strokes first five albums.