The album sways and moves in ways we haven't seen since 1998′s 1965. Dynamite Steps sits comfortably in his canon, and that is perhaps the perfect compliment.

It’s hard not to like The Thermals, and Fuckin A, while maybe a bit less lo-fi than its predecessor, is a stellar album.

Micah P. Hinson And The Opera Circuit is a very unique album that can be as warm and familiar as it can be chilling and alien.

With Port of Morrow Mercer digs deep in forming a polished and almost, muscular relationship with the music.

This is the most engrossing American Analog Set album in six or seven years.

Whilst the cynical might ponder whether Wooden Shjips may only really have one song, at least on V they prove how well it can it be stretched and squashed into many alluring, energising and enveloping shapes with charming self-confidence.

It’s not much of a pop record, but it’s very catchy in spots. It’s not experimental in the least, but it does have it’s own specific sound and feel. When it welcomes you in, Hotel Morgen can start to impress you.

It goes to show, scuzzy hooks will always be a way to make engaging music, even if the genre is well-worn. So, do yourselves a favor and check out We Are the Champions, an endlessly rewarding firecracker of an album.

Load Blown, superficially, is more of the same; sample some 30 second clips online or in your local record store and it's believable that this is a continuation of what they've been doing the past few albums. The entirety, however, exhibits otherwise, and isn't nearly as fulfilling.

Cobra Juicy employs a richly flourished amount of instruments and sounds that are catchy and full of life.

Speck Mountain have taken the high road, sporting influences in their back pocket as a kerchief rather than wiping them on their sleeve.

Tookah is a frustrating album because there are a couple examples of something fantastic happening in Torrini’s musical mind but it doesn’t quite deliver in the end.

The majority of the record is solid and enjoyable, but taken in its entirely, Riot is a bit tiring.

Both Lights goes a step further in cementing their reputation as one of the Pacific Northwest's best kept secrets.

Revival is a good album, and I don’t intend to imply that some of the slower tunes or more laid-back lyrics are simple throwaways, it’s just that this is definitely a change of direction for a band that has followed a relatively clear path for such a long time.

Clocking in at just a shade over an hour, Zonoscope is – as its cover art of Manhattan being engulfed by a waterfall suggests – a very surreal leviathan, an object that surely mesmerizes as we all wait for the oncoming Armageddon.

Their sound and influences seem to jump out all over the place, but regardless, it is entertaining.

The songs on Bankrupt! all still feature scintillating synths, gorgeous melodies and soaring moments of transcendent skill but with more of a flair for the dynamic tense of music.

Barnes is literally all over the place and his cryptic storytelling makes for an eccentric album. And although each song may shift styles five or six times, as a whole, it’s a tightly constructed and smartly shaped listen.

Putting to work every kind of noise you could think of--dub echoes, laser squiggles, slurring sludge, fractured voices, bass rumbles, innocent chirps, and so on--Splazsh is a feast for the ears.

This is the kind of album that will only reward as time passes; through more listens you will find that the startling music, sincere vocals and impeccable musicianship are all at a very high quality.

While they still manage to skronk out with the best of ‘em, Hocus Pocus is still a little too mixed up, eclectic, unfocused, and, at some points, a little boring.

Starfucker definitely have a gem with Reptilians, and have managed to make a remarkable album from a genre that can become quite stagnant and derivative of itself.

It certainly lacks the ambition and scope of Transatlanticism, but given the group's recent personal and professional triumphs, it's encouraging to hear them produce a piece of work reflective of their situation.

Family is an excellent album. Le Loup hasn’t altered their original goal and purpose, instead they’ve added new collections and they’ve even improved on some of the earlier problems from their debut.

Constellations is only remarkable when it is given your absolute attention, but it doesn’t come up with enough ideas to keep it on its own, lulling the listener with too many serviceably dramatic but non-descript piano-led pieces.

The tracks with fuller arrangements are the more interesting and surprising tracks here, and they suggest Vile would do well to seek out other strong personalities to write and record with.

A New Day at Midnight is not White Ladder part 2, but it does bear certain similarities, namely emotional, beautiful music matched with equally beautiful lyrics, and, of course David Gray's unmistakable voice.

Brother is to Son is a genuine pop triumph, the perfect execution of conceptual complexity and musical audacity, tied together with the timeless expression of one man measuring the motions of his soul.

A testing album like Boo Human is in due course enjoyable because of Kinsella’s impressive musicianship and work ethic.

There’s a certain kind of magic going on here and it needs to be accounted for.

The album’s dose of personality and how it transcends beyond its influences is equally impressive and in the end, Elephant Stone is a solid outing.

The importance of telling the tale far exceeds the risk for Moddi and so he should be praised for bringing these songs and their stories back into mainstream attention across a captivating musical and historical record.

Layering blankets of synths and keyboards as well as underlays of programmed drums and effects around his evocative guitar lines, makes Innerland an immersive experience, rich with flowing gauzy grooves and elemental ambient balm.

Terra is in no hurry to hook you, but once its charms become evident, it's hard not to be bewitched. It cleans up all of the more histrionic and clunky aspects of Lynch's previous work, and conjures a neat little self-contained world.

Feel the Sound is such a consistent, and consistently smooth, pop album, that it might put you to sleep, or at least a musically-induced coma.

Popp has once again authored a unique and compelling work. How you decide to sort through it and work it into your own life is up to you.

Year of the Black Rainbow is not a bad album. It has its moments, but it is a far, far cry from the greatness Coheed & Cambria possessed on all four previous albums, especially the masterpiece of melody, dynamics, musicianship and continuity that was "Good Apollo I."

Quaristice does an excellent job of mixing the two sides of Autechre into one cohesive running narrative.

Unfortunately, Haughty Melodic, in its attempt to gain a wider audience, does have some clunkers.

Forget the Night Ahead is a resoundingly superb follow-up to that same 2007 album.

The lyrics are sharper and far more introspective, the music is on a grander scale, working towards an overwhelming amount of brilliance and radiance and each musician plays a vital role to the entire album's fruition.

Manzanita is an uneven album that nonetheless reveals a great talent and a terrific voice.

Watch The Fireworks is undoubtedly a determined and brave step-outwards for Pollock.

Having been away from being a working band for a half decade, the Strokes have returned with a more polished take on their classic sound. Different: yes. Disaster: absolutely not!

This album bleeds politics.

Overall then, Whatever, My Love is a mixed affair. Die-hard lovers of Become What You Are will have few real complaints but might perhaps overdose a touch on déjà vu. For the less pre-devoted, a cherry-picked yet economically-unviable EP selection from the album might have served this reunion better artistically.

There are a number of ear-worthy gems on the album but it’s difficult to muster up enthusiasm for a band that doesn’t seemingly have much enthusiasm themselves.

Collectively the nine songs that make up False Beats And True Hearts don't stray demonstratively from the path that Damon & Naomi have followed near-religiously since being coaxed into cutting More Sad Hits, but its subtly refreshed vocal shifts, balmy inviting arrangements, blur of rural-meets-urban asthetics and a clutch of mesmeric moments make it a record that could one day be considered as a true keeper in the couple's discography.

As Terry expands Aqueduct's sound into similar neo-psychedelic indi-pop territory as Figurines, Islands and Of Montreal, he also shares their knack for animated and robust indie-rock.

There might be a few lost moments where the music stagnates from a lack of true skill where neither member of the pair does much but they come in sparring moments. And for the most part, the songs are too direct to even truly analyze them as anything more than lifting, carefree music.

The band's latest release is a substantial departure from previous efforts, employing a strong post-punk vibe to its production, with repetitive, pronounced bass line and drum rhythms (courtesy of Ailidh Lennon and David Gow, respectively), wiry guitar agitation, and the feel of being recorded in an empty room.

A decidedly mixed bag that offers many captivating songs but not a consistently high-quality artistic statement.

A winner from start to finish.

Alternating between sounding like a gremlin and sounding like a baby, the vocals don't so much haunt as distract.

These are two distinctively different sounding EPs but they are successfully united by Condon’s never-failing trademarks: wonderful vocal lines, linear melodic patterns and that soothing voice.

The consistent, unwavering quality songs make up for most of Jaill's derivativeness. It's pretty hard to write meaningful music out of such rooted conventions of guitar, drums, and bass, but That's How We Burn is engaging throughout, which is quite an achievement for a meat and potatoes rock band.

These initial songs are noteworthy by any measure; the remainder of the album, then, is a bit of a let-down, especially on first listen.

Whatever the band loses in spastic energy and volatility on Zoo, it gains in melodic constancy.

Not only the best Album Leaf album to date but one of the best albums of the year.

Nothing here is horrible, but nothing here is great.

Surely the best album (so far) of 2012.

If you don’t like noise records then you [should] steer clear of this, but if you happen to like listening to the sound of vacuum cleaners, video games, dishwashers, and other major appliances, I suggest that you buy this immediately.

The album finds the Vancouver collective making only subtle yet effective changes to the way it does business while the songs remain as sturdy and taut as ever; it's one of the most reliable releases you're likely to encounter this year.

Surprisingly enough, it lacks a strong sense of focus (something the creative basking of Sea Lion honed in on) and for all of its elements of sweeping grandiosity, they never seem to have much of a purpose.

Arm’s Way is an exceptional album in its own right that serves as overwhelmingly convincing evidence that Islands is no one-hit indie-wonder and still has enough talent to get them exactly where they want to go.

So there we have it, more of the recent same and sufficiently good enough to keep the good ship GBV sailing onwards. However, a little more variety and a few more Tobin Sprout songs next time around would certainly help to prevent any risk of drifting into more ponderous waters.

Some patience and repeated plays will be needed to digest the concise, offbeat and scratchy melodies from this eccentric, bedroom electronic artist.

Bardo Pond is not necessarily Avant-garde, but neither is it easy listening. It does however, defy categorization and perhaps with a little less unguided frenzy and a little more tempered structure would allow this reviewer to recommend it.

If you’re only looking for a handful of records this year drawing-up from the seemingly bottomless Krautrock well, then make sure that this is one of them.

The band's most “accessible” album to date.

So, reliable business as usual then for The Sea And Cake but with enough under-familiarity to neuter any contempt. Long-time loyalists will have few complaints.

It’s great music and it clearly showcases the fact that Grampall Jookabox should have a steady and successful career ahead of him.

Although music lovers who normally don’t appreciate experimental noise will find some things of interest here, this is really an album for people who dig material a bit more avant-garde.

There was definitely a clear division as to what kind of album they were intending to make beforehand and it's brilliantly showcased all over. Further's opening two songs attest to this with a melting of new ideas that immediately signal a new coming.

Bee Hives is a mostly instrumental album that heavily favors the fuzzy keyboard tones and heavy reverb of the band’s early work.

If you're a hardcore Interpol fan, already accustomed to the gloomy, brooding aspects of the band's full-releases, I would strongly recommend Our Love to Admire as a solid release which easily competes with Antics. However, if you've only dabbled, this album isn't explosive enough to edge out many of the other recent releases in this genre.

This is a transitional album, it seems: there are a lot of attempts here to do something new, not all of them successful. Still, it will be exciting to see what they transition to.

A bland alt-pop stew that meanders aimlessly.

In essence, Male Bonding provides much of the same on its most recent addition, Endless Now. But with their unique knack for incorporating melody while still maintaining the urgency, energy and punk nature of their music, more of the same is just fine.

These 7 songs are powered by strong emotions and a dynamic melodicism and polished to a burnished glow.

Each track contains elements that sound similar in combinations of tone, texture and melody from previous records, so this album is not necessarily a knockout. However, the band’s artistic hybrid is delivered with a fervent honesty and steeped in an emotional intensity that may make it sound a lot like other Eels material.

Mountains had found a way to work in an area which was unexplored and undefined, successfully fashioning their own esthetic. This new direction is taking Mountains away from that specialness and closer to the average.

The music is easily attended to and the mutual expression of feelings--as they're expressed through stunning instrumentation--is a terrific aspect that Little Me Will Start a Storm definitely possesses.

The freshness of these subversions reveal spaces you didn't know were there, and achieve a rare expansion of the vocabulary of music.

What elevates the music of Love and Distance are the unexpected combinations that make this latest Sub Pop release a cut above the duo's former albums.

Sea of Cowards, for all its snarkiness and caustic overtones, is ultimately a fun record, but it’s likely the band had way more fun playing it than I did listening to it.

A refreshingly new take on classic indie guitar rock.

A phenomenal noise record.

Alas, it feels like In the Absence of Truth finds the band both spinning its wheels and running out of ideas.

Everything has been stripped to the core, with the focus on creating a tight album from beginning to end.

Unfortunately one great number can't save the whole act.

21st Century Breakdown is far from a bad album, and, like Idiot, will likely be the best release this year from such a popular band.

There are a few moments of weakness on Keep on Your Mean Side - most notably where V.V. and Hotel get a little too repetitive or too simplistic for their own good – but it's easy to move past these minor instances without it detracting from the album too much.

It's often a bit silly, always fun, and surprisingly inspired.

The music on Something for All of Us… is focused, melodic and utterly impressive. Not only does it sound terrific but it sounds like it was a complete pleasure to make.

With a musical voice that is always travelling down a linear path, Foreign Landscapes is a spellbinding new journey into the wave of sonic explorations.

This small grievance aside, Getting Paid is sure to delight not only the Mars Volta fans out there, but also anyone with a passing fancy for artists ranging from Geddy Lee to Jack White.