Elephant & Castle is refreshing, and its an extremely impressive solo project.

Here We Go Magic certainly sound fantastically magical on A Different Ship. It's a definitive kind of feel and one that deserves proper recognition; they've delivered a remarkable album.

Wareham delivers Emancipated Hearts through a dark yet dreamy fog, honouring his past pedigree as well as finding fresh dimensions for his songcraft in the process.

While it’s still the arrangements that will continue to impress, the words and overall sonic ability speaks paramount to what Yeasayer is capable of.

A brave, commanding, astonishing LP that shatters all notions of what modern rock music can, or for that matter, should be.

Radian has given soul and warmth to the body electric on Juxtaposition.

I know the whole ‘retro-rock’ thing is en vogue in about a bazillion different ways, but Stellastarr*’s take just seems a bit more energetic and vibrant than most. Considering the genre, this disc is a frighteningly solid listen.

Destroyer has clearly picked up where it left off and the music on this eleven song album is utterly exceptional.

Whether or not Part II: The New December is steadied and readied as an opportunity to cash in on winning success (they were featured in everything ranging as far as NPR and a video collaboration with the Laker Girls), this is another great compression of darkly layered pop and stellar IDM.

Salon des Amateurs is much more than striking the iron while it's hot, not just because of its singular attributes and styles but, frankly, it's yet another fantastic album in the span of a few months.

All in all this is a great album.

It’s a sincere album that is as friendly and rewarding as any of their previous works.

It’s a virulent mixture of political discourse, political polemic, self-aggrandizement, self-diminution, childish humor, and intelligent irony; but, above all, everything is pulled off with undeniable character.

Bloom is as fetching a record as any in Beach House's growing canon of work.

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.

Ultimately there’s a lot of beauty to behold on Run Rabbit Run.

Mascis does a superb job of firmly establishing that this is his music and though guest artists make timely contributions, there is no denying who is the star of this show.

By the end of the album, you're likely to forget that the band band has been tagged as stoner rock, because there's a lot more than that going on here.

No alarms, no surprises.

Hard to describe but easy to recommend.

Art-punk, post-punk, hardcore, alternative, slap whatever label you would like on it; I'll stick to youthful, captivating, raw, and memorable as my descriptors.

Their styles complement one another to produce a powerful combination on this album that captivates from start to finish.

Soul Journey takes off in more than one new direction.

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

Life Like may not beg for repeated listens as much as Birds Make Good Neighbors but it’s still an honest and original piece of work that is sorely needed in these times.

One thing’s for sure, Wilkinson sounds entirely enjoyable on this album. Whether it’s him enjoying himself in crafting this music and/or the fact that Ambivalence Avenue sounds that much more enjoyable than its 2009 predecessor, something’s obviously working.

Given its largely austere terrain and relatively unvaried inclines, Peace On Venus is not ultimately a Bardo Pond album that lends itself to easy traversing. However, it still confidently captures a group holding its own against latter-day and more voguish heavy-psychedelic peddlers.

Band of Horses is ethereal, otherworldly, and completely inimitable, and listening to Everything All the Time is, in the truest sense of the word, an experience.

As reunion/comeback albums go, Time on Earth is outstanding.

If diversity is key, this album certainly has it in abundant strength and as more is revealed, the range of the band takes over.

The tunes on this EP are raw, sharp, and catchy, and always push with some kind of propulsive rhythm--a dynamic strut of drums, guitar, and vocals, even on the calmer verse sections.

The album’s majestic brilliance reveals itself through subtle perfections that appear with repeated listens.

Although their own thickness seems to get a bit cloudy at times, it's never unassuming or presumptuous. Instead, the noise that creeps in and out of Constant Future is always consistent and never over-abundant; in turn, it's very simply a solid release.

It presents a picture of Anderson as a gifted songwriter and heartfelt singer not limited by a signature style, but who still manages to express a strong personality and distinct creative voice.

There isn’t anything outlandishly overdone on this album as Beck offers a more stripped down approach. These are obvious efforts to return to a more cohesive, solid form and with a steady dose of subtle harmonies, crafty melodies and hooks, interesting instrumentation and oh yeah, two songs that feature Cat Power, Beck doesn’t disappoint.

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.

Each man delivers touches that are downright unique to their brand of music, but together, they carry a strong penchant for the greatness of indie rock. It's never groundbreaking, but it doesn't have to be either – A Thing Called Divine Fits celebrates music with terrific, yet humble, results.

Sitting down and listening to a full length album all the way through without outside interference is nearly impossible, let alone desirable. However, the solitary atmosphere and minimal elements of Admiral Fell Promises make it designed for just such a commitment.

It’s an album that doesn’t reinvent the wheel but adds an extra corner and somehow makes it go faster.

A little less density and a higher level of self-restraint might have made for a more balanced collection admittedly but the irrepressible refreshed conviction is still impressive.

Whilst Trees Outside The Academy isn't quite as breathtaking as it could/should be, especially given the niggling-feeling that Moore didn't give the album 100% of his attention, even when he had a fresher formula at his disposal, it does contain some consistently strong material that complements as well as outshines his best latter-day Sonic Youth wares.

This is a band that is as strong as ever and on the pleasurable Hey Venus! sound downright terrific.

Fields sounds commandingly assured with songs that ache and bristle with lush convictions.

If you get one psych album this year, make it Valende.

Neither too mature (i.e. boring), nor too desperately age-defying (i.e. embarrassing), Three Easy Pieces potently reenergizes older Tom trademarks as well as imprinting a few new ones.

This summer, don't just think about going surfing, listen to Strange Heaven instead.

On the whole this is a richly inventive and enthralling eponymous long-player from a side-project with legs of its own.

Throughout Light Of A Vaster Dark there is an overriding sense of closeness and inclusiveness that draws you in and belies any accusations of pretentiousness that might otherwise come from straying into musical terrain far off the road so over-travelled.

This isn't just a novel idea that is haphazardly hashed out but rather, the work of two impeccable musicians and it's a fine addition to either musician's catalog and a brilliant one at that.

This is certainly a breath of fresh air in what was a slow year for hip-hop.

Catchy yet intense guitarwork, intricate rhythms, soft and hard moments, and layers of Shehan's amazing voice - it all combines to create one amazing album.

Those without a stomach for a little humor in their music will surely thumb their noses, but for everyone else, this is essential listening: a whip-smart band of originals, living with death, throwing coconuts at the rest of us from greener pastures.

The noises on Rivers, while off-beat, are more or less pleasurable, not testing the listener--instead introducing them, guiding down the increasingly sealed-off world the record builds for itself.

DOOM isn’t really offering you anything new, and it’s got some clunkers like 'Operation: Doomsday' and 'MM...Food' before that. This album is, however, a reaffirmation of DOOM’s talent as both a rapper and a producer.

Musically, it’s far and away ahead of most hip-hop artists, and lyrically, it’s a clever approach that goes beyond the heart-on-your-sleeve indie-rock lyricsheet.

Whilst Moore’s meandering stops Sonic Nurse from going that much needed extra mile, Kim Gordon and Lee Ranaldo are on reassuringly good form.

Volta is her most accessible album in years, even if it is sometimes at the expense of its own best interest.

Sleigh Bells' sophomore LP is unlikely to be met with the same peerless adulation as its predecessor, but Reign of Terror still seduces with an uncanny knack for extracting a pioneering spirit out of musty source material.

Compared to the wild noise they made on albums like Milk Man and Reveille, Deerhoof vs. Evil is definitely a different kind of wild noise all on itself. Don't expect the crazed madness of the former's title track but don't expect to be disappointed either.

At this stage in his career, Loudon Wainwright III could forgivably have lost some of his mojo, but on the life-affirming evidence of Haven’t Got The Blues (Yet), there’s still plenty of great songwriting left in the tank.

Ashes Grammar takes what they accomplished on SMCJ and attenuates it, stretching it into new shapes and sizes, avoiding a retread of their debut album by avoiding the traditions of the album form altogether.

Pop sensibilities are allowed to swell over, into and around each other; each song blends the seams of the core into a fragmented, disjointed, appropriately-meshing of sounds and in the end, Love this Giant is a magnificent triumph because of it all.

Whilst Jeffrey Lewis’s self-knowing musings and musical personas will still remain an acquired peripheral taste for some, it’s pleasing that Manhattan finds him in such rude health, as arguably his most compelling and charismatic collection since 2007’s 12 Crass Songs.

The King is Dead serves as enough solid music to lull us over until the next official album.

Six extended entanglements that capture the spirit of willful experimentation and magnetic pull of melody.

Though generally a triumph, the album has a couple cuts that feel unsubstantiated.

It’s a coherent, engaging experience.

The Lucky Ones is a solid record chock full of classic sludge, pissed off yelps, and witty (almost existential) lyrics.

Roots & Crowns encircles the listener and flows effortlessly as each song melts into the next in bewitching bliss.

If you've yet to experience PJ Harvey, The Peel Sessions: 2001-2004 might be the perfect initiation. If you're a long time fan, don't pass this album up simply because you recognize many of the tracks listed.

This album has something for everyone and will appeal to the kids who like ambient drone pieces and folks who love songs with great pop hooks - and everyone in between.

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

It's not entirely clear yet whether Loud Planes Fly Low will be the Rosebuds' swan song or simply a restatement of purpose, but either way, the band has delivered one of the most arresting breakup albums since Beck's Sea Change.

Even at its most intense, Everything Ecstatic combines percussive aggression with warmth and vivid emotion.

Infra holds its ground amongst Richter's finest pieces of music, movie accompaniment or not.

Whilst Volume 8 isn’t necessarily for Bardo Pond neophytes, long-term loyalists should happily squeeze it into their swollen shelves.

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

The intelligent songcraft on Days is remarkably strong and with enough luster to continue, here's to hoping the desire never runs dry for Real Estate.

Such is the rich detail dispersed across Kiss Each Other Clean that it demands some intensive listening to absorb all of its pleasures, especially when the choruses are not as cleanly-cut as one might expect of such a well-groomed higher-profile release.

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.

Undeniably the most diverse album Leo’s ever made, Living with the Living leaves not one of Leo’s stylistic stepping-stones unturned.

While there isn’t a song that will stick out immediately such as “When K Got Over Me” or “I Can’t Seem To Make You Mine” there are plenty of songs that will find themselves ingrained in your memory long after a listen.

North Star Deserter is serious music, and commands a certain amount of attention.

Whilst as a whole Dear Mark J. Mulcahy, I Love You does perhaps miss having a few more mellow Mulcahy moments to give it a stronger balance of moods, its rapidly flowing melodicism is impressively infectious nevertheless.

It’s refreshing and still, a fine listen; Impersonator is in the end, its own refined identity.

The Guided By Voices record making machine is in finely-tuned condition for the vast bulk of the Motivational Jumpsuit, keeping the gang of veterans on the reunion road without any embarrassment.

Speech Therapy sounds surprisingly intellectual and crisp.

Summer Sun stretches Yo La Tengo's musical boundaries even further than before, as well as reaching back to tie-up loose ends from past master works.

What it Means to Be Left-Handed is just that: a diverse assortment of refreshing new music from a band that has already developed and progressed their chops. It's a joyful occasion and for Mice Parade; a loud celebration down the street, rodents and all.

Delirium Tremens holds many enjoyably solid, if occasionally thorny, rewards.

Rather than having rushed to capture and over-stretch the first flushes of studio exploration with a premature first album, the much-awaited Dying logically extends upon the Spectres’ story so far whilst standing-up as a more mature and ambitious statement in its own right.

Ultimately, Fantastic Planet is not an easy listen yet it rewards persistent immersive airing by gradually offering-up its manifold charms.

With eleven songs, the album flows serenely well and sounds like a two part voyage; the second half much weightier, the first half perhaps more buoyant.

The songs are dense and cleverly-constructed, and given a bit of attention, their wit and melodies will worm their way into your awareness until you don't feel like listening to very much else.

With Women as Lovers they have created one of their more accessible and cohesive albums to date.

Taken as a whole, Little Sand Box may initially feel a tad overwhelming but in actuality it makes understanding Gelb’s solo records far less arduous due to its curatorial context-setting (which includes bonus tracks and informative sleeve notes). Moreover, it upholds Gelb’s vocation as the sociable solo journeyman as being equal in stature to his role as a veteran band leader.

Whilst the reference points are sometimes more discernible than the strength of the melodic hooks, there is still something inscrutably summoning and stirring about Pink Noise that suggests there is more to Echo Ladies than just picking-up batons from a time just before the Britpop steamroller flattened out the sense of artistic adventure for some.