It’s seamless in its construction, poetic in its songwriting and moving in its aesthetic impression.

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.

Flying Lotus has made the strongest album to date with his amazing collection of sounds, beats and instruments; as good as you felt after hearing the sheer brilliance of "Los Angeles."

It's best to purely take in the dissimilarity of this exceptional new album in contrast to Hospice--it's downright astonishing on its very own.

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.

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

The best complete work the band has offered to date.

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.

Each song is impactful and memorable, with a fantastic approach to songcraft that focuses on minimal gestures, mixed with tremendous layers and layers of sounds.

While the material is at times uncomfortable and discomfiting, one can't help but be fascinated - and a little touched.

Everything comes together in a melting pot of rock and pop that is both delightful and intriguing. It has melodies, smart and quirky lyrics, and the band features some unique musicianship that is executed well.

Nothing much is different with their latest triumph, It’s Blitz!, a sprawling, eclectic set of dazzling new music.

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

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.

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.

It’s not prog rock. It’s not punk rock. It’s not emo. It’s not indie. It’s just music, and it will incinerate your mind if you let it.

This is a gorgeous pop album that deals maturely with a wide range of emotions and ideas.

Bruner has elevated his game into something worth noting and more importantly, worth following.

Vampire Weekend's penchant for throwing an occasional obscure reference into their work doesn't change the fact that Contra is an obvious early contender for one of 2010's best.

What sets The Real New Fall LP apart, however, is the consistency of its greatness. Every Fall album has had a bum track or two since 1984, but this new record really doesn’t.

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

Dear Science is a stirring addition to their ever proliferating catalog; a stalwart continuation of the band’s hooking groove, and easily one of the best releases of the year.

Slow Focus is a tremendously gifted album; one that remarks on what electronic music is still capable of, while knowingly realizing that the sky’s the limit.

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

Weaving together themes like mortality, the universality of mankind, and the cyclical eternality of life and not having it all come out as a pretentious mess of self-important prognosticating and vaguely simplistic truisms places Elvrum in the rarified air that few outside of Brian Wilson have ever attempted to reach.

What is truly magical on Silent Alarm is how it astutely grafts the accoutrements of wiry post-punk austerity to pop hooks fortified with soulful melodic intent.

Some of his melodies are so easily memorable they make The Thrills sound like Rammstein.

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.