Everybody Loves a Happy Ending is a polychromatic, sweeping collection of gorgeous guitar-pop gems, a clever and harmonious amusement park filled with fun rides listeners will want to board over and over.

Faking the Books is one of the best albums to come out so far this year.

Magic succeeds magnificently because it is the perfect balance of what we’ve come to love about an artist while venturing out to try new things.

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

I’m not sure what stands out the most about The Cover Up, whether it’s the tremendous production values or the clear confidence the band has with its music.

Expo 86 is a brilliant reinforcement of what occurs when true chemistry exists in a band.

It will be the simple fact that it’s as good as anything Albarn has ever done and for the Gorillaz, a fantastically tailored album from top to bottom.

Amok is a tenaciously rich and strong album that is certainly the work of gifted musicians.

[It] would be a shame for you to miss.

Though it is not overtly innovative in its instrumentation or approach, The Creek Drank the Cradle is composed and performed with such an inclusive, intimate voice that the album is extremely accessible, even personal.

The album is consistently strong from start to finish with enough outstanding material to vault it into classic status right next to "Dummy."

The Needle Was Traveling is that rare album filled with an electronic-acoustic amalgam that is ideal for day and night listening, which impacts the memory and the libido, and whose combination of lyrics and melodies is immediately catchy yet consistently prompts rediscovery.

They have crafted a terrific debut album and are prime to make a dent in the indie community.

Gonzalez bathes us in a sound so big and enveloping that it’s impossible not to bask in its powerful, optimistic glow.

When they began their self-titled debut, they were uncertain kids from Brooklyn making a record from all the music they had ever known. They’re leaving veterans of the game with obvious talent and colossal potential.

One of the band’s finest releases and arguably the most comprehensive statement to date on just where the musicians were coming from, the roads they took to get where they ended up, and even possibly where they were headed.

This album is more a statement of where they're going. It feels big, open, and alone, like you are listening in on something you shouldn't hear.

The ghosts of some of the greats are there for sure, but in the end, This Is Happening sounds like no one except LCD Soundsystem.

It is an ambitious effort, and it could very well leave your brain hurting by the time all of the songs have wrapped themselves around you, because there is so much going on and so much to digest.

You still get the beautiful vocal combination of Sparhawk and Parker and the traditional less-is-more approach Low perfected several albums ago. Yet now you get a band that doesn't want to get stuck in the realm of slow-core, trying new things, redefining themselves. And it works beautifully on what is, undoubtedly, a triumph of an album.

This is not Tom Waits’ best record... But the whole package... is riveting, a collection that should humble lesser musicians who only can aspire to the mantle of Waits’ discarded work.

The compositions, the choice of songs, the sequencing, his spoken word--the entire package--is a firm reminder of the immense talent Antony is; Cut the World remains another worthy release to take hold of.

An incredible record.

Bon Iver sounds distinctively matured and alive on Bon Iver: an album that even still, in the late winter, months after its release sounds magical.

Biophilia is an excellent addition to her glorious discography.

This is a terrific album, one fully ready and suited for headphones; an album that should be easily enjoyed by all and that will surely be loved by many.

A follow-up album that not only meets expectations, it blows them away.