Stellar and superb, The Electric Lady is a fantastic journey filled with impeccable works of modern flair and skill, power up indeed.

The band resorts to an 18-set record simply because everything is indisputably necessary and furthermore, solid gold.

It’s the kind of album we critics tritely refer to as a return to form but with the massively remarkable beast that ...Like Clockwork royally is, never has the phrase been more fitting.

The Baltimore-based band’s fourth album is layered with songs that are faultlessly executed from top to bottom. Although the lyrics are somewhat simplistic, their direct marriage is welcomed.

Red Devil Dawn is by far the most consistent Crooked Fingers album, and in many respects, probably the best in general.

This is one consistent record that will being a smile to your face; there is nothing breathtaking, but there doesn't have to be.

Sometimes the best albums are pieces of high art to be appreciated from afar. Others are treated like your favorite movies, invoking feelings of when and where you first experienced it. And yet others are treated like books that are so distinct in invoking another time or place that you are escape into them often and without fear. Canary is that kind of album.

Beam’s songwriting has always been the defining element of Iron & Wine, and it’s evident on these tracks, especially the lovely “My Lady’s House” with its gentle and loving theme.

Whereas previous Elbow records set a mood, Build A Rocket Boys! may require a certain mood, and a few spins, before the lofty expectations are shed and you're left delighting in its radiance.

Although Volume 2: 1987-1989 may have its fair share of misfires, its overall hit-rate is remarkably high for an exhaustive anthology drawn from the ‘80s DIY netherworld. Whilst it’s hard to say if it fully represents the best of the Half Japanese oeuvre, it’s certainly an unquestionable strong entry-point into the band’s uncompromising catalogue of charming invention.

Angels of Darkness, Demons of Light 1 contains some of the finest work Earth has produced to date.

Innovative as it is satisfying.... It’s hard to imagine a more realized meld of hip-hop, electronica, and post-rock.

Ultimately, it ends up being one fantastic follow-up that brims at the sides with vehement energy.

You’re a Woman, I’m a Machine is the kind of “feelings” album that fans of noise-rock or hardcore can listen to without fear of being soft. For the rest of us, it’s an indulgence of our more dramatic emotions.

There isn't anything remotely 'neat' about The Monitor. Instead, it's a rocking, joyful, epic beast of an album that rattles with energy and pulses with the heart of a raging bull.

Phoenix doesn’t need to be groundbreaking to reward us with a joyous, endlessly fun album that should sit comfortably in the top 10 on everybody’s list.

May be the perfect pop album.

One of the best albums you'll hear in 2003.

Whether you end up liking this album or not, it is going to be one of the most intense things you've ever heard.

The Renaissance is arguably, the best hip-hop album of the year.

Quiet, diligent, and touching--this could very well be These New Puritans’ masterwork.

He’s resonating some true beauty here; entirely lost in his nostalgic feelings and openly retrospective about where he has been, Sometimes I Wish We Were an Eagle is absolutely beautiful.

In Do You Like Rock Music?, there seems to be a condensed clarity of vision, that vision being rock bigness and youthful enthusiasm and curing inertia and malaise, in the vein of the aforementioned past British masters.

With Fade, they’ve come across ten songs that all sound tight and of course, refreshing, against the backdrop of what might be their most consistent album to date.

A career-defining work.

One of the most surprising, challenging, and important albums of the year.

This is a magnificent debut, filled with endless melodies, memorable hooks and plenty of toe-tapping moments.

Wild Mountain Nation keeps you on the edge of your seat the entire time and it’s a fine piece of music.