Rest assured, The Thermals is back and as tight as ever.

Though not sure what to make of it, it is viscerally enjoyable and mentally wondrous nonetheless.

Nothing much changes from here on out, but it’s this form, absorbance and consistency that always prevails in Willner’s music.

Static Tensions is the fourth album from Savannah, Georgia metal mavens Kylesa and it may well be the best damn album the band’s released and one of the finest of 2009, metal or otherwise.

Akron/Family II might be too scattered with divergent concepts to capture the attention of the masses, but in this still very young 2011, it should rank among the most ambitious and rewarding listens of the year.

It’s really hard to find anything wrong with the way Case has presented everything and it’s evident that she is only beginning to reign in all of her strengths. It’s an exceptional trait when you’ve been able to combine so many tremendous aspects into one supreme collection of songs.

It’s the core songwriting beneath the band’s rich sonic layering that needs the greatest sharpening.

These two guys are good on the turntables and production, and they've got some stellar hip hop and rock guests. Check out this collaboration, one of the few hip-hop albums that I truly think is a must-have.

The dozen songs on here make for a brilliant affair of subtly great electronic music that blends a fresh brand of styles into one compelling presentation.

Like the band’s 2012’s Tucson LP, Heartbreak Pass is perhaps a tad too long to digest easily in one sitting. Yet its warmth, scope and consistency makes for an album that defiantly and enjoyably belies the age of Howe Gelb and his most-loved brand.

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]

A stunning achievement and the first exceptionally great album of 2006.

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)."

Ultimately, The Wild Hunt is anything but a disappointment; instead it's a smooth progression that departed exactly where he left off: it's still affecting with countless moments of brilliance, it still showcases a musician that is everything we could want in a songwriter and on a more contextual look, it's still a man making simply honest music with nothing in the way but his heart and soul.

This album is not only the band’s most solid and consummate release to date, not merely one of the most veritable albums 2007 has delivered to us--but also, truly, one of the top albums in the past five years of indie rock history.

Government Commissions is a must-have for any Mogwai fan, as the live version of “Like Herod” alone is worth the price of the full CD.

For the uninitiated though, this is essential listening for any member of the iTunes set; crafting your next playlist will likely turn into a transcendental experience after you hear how uncannily Drake goes along with Flock of Seagulls.

After the vibe he seemed to be going for, it seemed awkward to end the album on an upswing. That being said, this is a startlingly mature and accomplished album.

Though there were hints of branching out before, none were ever as intrepid as the songs presented on Starry Mind, making Gubler's music something to surely take note of.

While the rest of the album fails to live up to the breadth of “City” and “Crumbs,” and while it takes serious missteps on the shockingly bad “Man and a Woman” and “Yahweh,” this is, by and large, an album to be thankful for, regardless of your demographic.

Although this is one of the most linear and easy-to-navigate Giant Sand records, some might be put off by the album's lapses in noisier and raucous dynamics.

A demented, twisted, and exuberant journey through a hip musical funhouse.

Hawley has made an exceptionally perfect album with Truelove’s Gutter: it’s endearing, uplifting and absolutely beautiful, what else could you ask for?

Props to McGuire for making an album exuding love, humbleness, and gratitude which didn't sacrifice any of his compositional complexity or overemphasize its conception. He should be proud of living with himself.

Each song sounds like a distinct ray of light and although it’s packed into something both concise and brief, it’s the strength of each song that makes the whole album stand out.

From track to track, there is a progression that not only befits their name but their musical endeavors.

The best treat in any kind of music following is when a band who’s been dabbling in greatness for a while finally comes to the plate and smashes a home run over the fences.

Ultimately, it ends up being a fine album. Nothing too spectacular or breakthrough but filled with enough great tunes to keep you coming back.

Wincing The Night Away has enough dreamy, jangly and melodic indie-pop that almost lives up to the hype and will leave swirling, seraphic sensations playing inside your head.

Gloss Drop is a definitely strong final outcome.

Whilst it might miss its prequel’s sublime rootedness, the album’s alluring and questing life-force confirms that Cécile Schott is a thoughtful artisan to keep closely watching over a long-haul creative journey.

It’s with his newest album, Years of Refusal, that Morrissey has delivered one of his finest albums to date.

Conatus continues her roll with more astounding music that sounds better with each listen and during this day and age, what more could you ask for in an album?

This is music to celebrate life with and to joyously fashion because it's certainly amazing.

Due to its extreme use of repetition and electronics, it forgoes much of the curious, daydream-esque dynamic which had dominated previous Collective releases, but what has been assembled here is an astute, entrancing deconstruction of pop music. Highly and happily recommended to all.

It’s a remarkable debut by a tremendous quartet. Not only does it have the raw emotion, but also the intense, glorious musicianship, absorbing hooks and grandiose arrangements to leave you utterly breathless, drained and wanting more.

There’s so much to love about Popular Songs and whether you think it’s the outstanding collection of music, the superb style choices, the fantastic lyrics or all of the above, it’s clear that Yo La Tengo is winningly superb.

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.

Minor niggles aside though, Silver Bullets is a solid and rewarding return to the fray for The Chills which patient followers will wrap their ears around gratefully.

This is definitely a solid album from a band that is surely to get better.

It requires headphones, or at least some form of solidarity, to enjoy the carefully composed post-rock that only a band like Apse can deliver. It can be a bleak listen at time but this is a beautiful album that should be experienced at least once.

Below the Branches is the kind of record true lovers of classic 60s and 70s pop can adore.

An Imaginary Country suffers nothing for these decisions [to ease back on the heavier, noisier aspects of his work] and in fact nearly stands as a perfect counterpoint to the acidic blasts of white noise on "Harmony in Ultraviolet."

There is cohesiveness here, there is a strong theme throughout, there is terrific musicianship and a gorgeous melting of voices all in between.

With the rocking tunes, energetic vocals and those smart lyrics, Accelerate is a true return to form for a band that really needed it.

Once the blissful excitement of 'Brain Burner' closes the album you will realize that with Nouns, No Age have not only delivered an intense blend of experimental/noise/ambient rock but they have very clearly delivered, arguably, the best album of the year.

Astro Coast succeeds admirably because it pulses with a fun, youthful, and invigorating feel, and obvious lack of arty pretenses, studio mediation, or self-importance. Not every band can be Radiohead, thankfully.

A strong early contender for Record of the Year.

The net result is a strong suite of compositions that canter and curl with commanding calmness.

Minor misgivings aside, All I Intended To Be is another assured latter-day Emmylou Harris long-player.

Never has Aloha sounded so tight, so completely in control of its sound, so assured of that sound.

It's the sort of album which reaches back and forward in equal measure, applying what's known about past songwriting to invigorate the present day.

Sure, you can kind of tell--except for the finale--they each sing four songs and their styles are unmistakable; however, they result in one tight, unified, startling beast of an album--it’s downright astonishing.

Four albums in, the music continues to embellish and luckily, entertain for Junior Boys. Even though It's All True might not be the resounding return of earlier albums, the transitions the duo has embarked on have found them crafting sound into brand new revelations.

This short EP clearly isn't up to the muster of classic 70s Wire.

A vital, winning album.

Through all of the musical intricacies and variances, Rossen and Nicolaus have truly created one of the best albums of the year.

Demolished Thoughts, for what it is - a collection of evocative but slow-moving songs - makes its mark through the repeated exploration of a theme.

The songs that are good are amazing, but the songs that aren’t quite as good could end up being skipped over, which is a shame, seeing as how there isn’t a bad song, per se, on the album.

Its occasional awkwardness and complex narrative arc may deter true devotion. However, there are still many miraculous highpoints within, which should give Joey Burns and John Convertino a sturdier and braver platform for Calexico to step-up from next time around.

Band Of Horses have hit upon an endearing sound by taking their experiences and whipping them up with a variety of styles and influences that are creatively transformed into a unique and cohesive album filled with energetic, emotional and enjoyable indie-rock.

One of her most assured and intimate records to date.

Musically imaginative, robustly performed, and drawn from a golden well of warmth and intelligence.

New Album is the culmination of the band's ongoing experimentation that catapults its ferocious sound headlong into new territory.

This belongs a lot more to the R&B/Neo-soul side of hip-hop; it's a terrific way for the Queens rapper to showcase his impressive skill as a musical artist.

Water Curses is fantastic because it can serve multiple purposes and it isn’t an EP that only fans will enjoy.

The infusion of pop and blues has not only been done before, it’s also been done better.

Spaces Everywhere is a deliriously upbeat 40 or so minutes of quality indie guitar music and The Monochrome Set continue to await your recognition.

Total Life Forever is still thoroughly identifiable as a Foals album, their personality and songwriting quirks shine through even the thickest of creative haze--they're making pop out of art, which is a pretty good recipe for a young band.

Taken as whole though, The Singles is a strangely satisfyingly testament to the belief that most great musical ideas--even those delivered with such wilfully uncommercial and unconventional intent--can still be boiled-down to fit on one side of a 7” slice of plastic.

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.

Absolutely stunning... One HUGE startling success.

This is evidence of a group that has really come into their own and while they were at it, refined their skills. It’s to the point that I feel this album is head and shoulders above any of their erstwhile releases.

This is a punishing record that manages to be both incredibly dense and yet highly listenable.

Arguably the best album in their career.

A heart-meltingly wonderful return to form.

The focus may be tighter and the refinement may be a little more obvious, but such things don't hold the band back on Antenna; rather they further the progress that has been showing itself with every Cave In release.

Each and every single song on here is sprinkled with a certain something to make it outstanding all on its own.

The Ruminant Band opens up the Fruit Bats aesthetic and is a welcome addition to both late summer and a terrific discography.

Remember those old days when everything was perfect, when you were happy and all was right in your world, The Stand Ins achieves this.

Although Saltbreakers may have less easy-to-find melodic hooks than its predecessor, it certainly doesn’t lack much in the rich eclecticism stakes.

An excellent album graced by the kind of clever hooks, lines, and sinkers that color Malkmus’ best work, be it with Pavement or the Jicks.

Das Racist takes the strengths off their mixtapes and simply take them on a new adventure with Relax.

Guero is Beck’s most enjoyable long-player because it doesn’t pretend to be more than what it is: a fun collection of disparate, delicious songs.

I’m New Here is an outstanding album and one of beauty and substance and for the first time in fifteen years, Scott-Heron is back.

Real Gone is incredible because of its songs, some of which stand among Waits' finest work.

All in all this is a rock-solid debut from a group of veteran musicians who aren't necessarily out to reinvent the wheel but whose fiery passion rings through on every note.

This is a wonderful piece of work from a talented, intelligent artist, put across with all the passion of someone who's spent a long time thinking about and living with the project.

Parts and Labor have expanded their sonic palette with Receivers and with it may find some new fans who wouldn't have been able to tolerate the overwhelming stimulation of previous releases.

Ultimately, although Into Forever might not quite hit the same consistent heights as the meticulously-crafted Modular Living, it’s still a respectable and forward moving addition to the Eat Light Become Lights canon in own right.

Whilst Illegals In Heaven may not propel Blank Realm into dramatic new terrain, it does re-fortify existing ramparts with a scrupulous conviction.

Bamboo Diner In The Rain won’t necessarily catapult The Wave Pictures much further forwards in terms of commercial appeal, but as a self-proclaimed attempt “to grow inwards” it’s a strangely satisfying go-to collection for those already convinced of the group’s lateral charms.

Keeping it loud and with some wry northern humour around the edges, Autobahn’s second album is a tour de force of resonant, power-driven, electronic alt. rock played as it should be.

The self-produced LP is a stimulating listen with some compelling lo-fi sonic tricks employed with little need for mainstream approval.

Such music deserves strong praise, even when it's simply another great album to hear from one of music's many rising stars.

Taken as a whole, Lookout Mountain, Lookout Sea stills far short of the Silver Jews’ seminal statements--namely 1998’s "American Water" and 1994’s "Starlite Walker"--but its mix of mischief and melancholy provides more than enough to keep David Berman in the game he continues to reassuringly and unpredictably play on his own terms.

In the end, both are viscerally charged representations of what A Sufi and a Killer is: sincere and at times, bluntly honest, utterly captivating and exceptionally crafted, it’s a special album that will soon become, very simply, essential.

All in all, Foreign Body is a very rewarding and promising collaboration for fans of the more emotive side of droning ambient music.