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.

An above-average nouveau-garage punk record that blends the elements of disjointed noise, R&B-inflected punk and a post-modern pop sensibility into something interesting and enjoyable, but not quite groundbreaking.

The Mendoza Line have created an album that has had many talking, received the most recognition of their career, and will spawn repeat play on the CD players of many.

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.

Ultimately, the hushed tones of the contemplative indie-twee The Caribbean weave on Discontinued Perfume is moderately pleasing yet unspectacular.

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.

A shock in the uttermost worst way because Wale has suffered from the over-production, guest-crammed, lack-of-ideas style that usually follows with a major label release.

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.

Eternal Turn of the Wheel just seems to pack too much of an antiquated, overused style into it without any new innovation and I just can't get behind this album.

It worries me that cheesy metal riffs have made their way onto a Converge record, making it sound like it might be accepted on tour with Mastodon. It’s not a matter of breaking apart but experimentation that might not always go right.

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.