Justin Vernon and his crew have changed things up here for sure, but the results are every bit as beautiful as you might expect.

As the title suggests, it's a record which marks a transition for The Roots but which, like the America it addresses, is still aware of the burden of the recent past.

There is a beautiful, communal power in slow grooves like “Ya Habibti,” with its circling, mesmeric riffs and hand-clapped syncopations. “Asdikte Akal” moves a bit quicker, more of a trot than a shuffle, but also feels like a group endeavor.

A wonderful surprise.

From the Sea to the Land Beyond sees British Sea Power operating on a different level. A wonderful hymn to the island we call home.

Opener ‘Breathe’ raises shivers with its breakdown and descending strings, ‘Flowers’ has the queasy intensity of My Bloody Valentine and makes elegant use of space and balance, while ‘JOY’ is a throbbing fuzz monster, all desperation and thunder. Again and again the trio wrap drama in something shimmering and glorious, like aural pigs-in-blankets, weaving intricate and catchy lead lines and rattling snare fills between huge pillars of sonic emotion.

This collection provides years of Beach Boys fun and suitably celebrates their 50 years.

This record is as on disco and early house's dick as much as Britpop was on The Beatles' and The Kinks'.

Syro sees a master craftsman return with renewed inspiration. And while it might not technically be James' most innovative album, it way well be his best: his most complete and engaging under the guise of Aphex Twin.

This is yet another example of Hot Snakes at the top of their game, except this time they gave 14 years in exile for other, lesser bands to catch up with them only to reclaim the throne with ease.

A deeply affecting album which preserves everything that was so marvelous about her beloved folk-opera [Hadestown], and ultimately performs a very handsome job of keeping out of its vast shadow.

As the inclusion of the Neil Armstrong quote suggests, this is a step back towards the sunlight. Where that step leads remains to be seen, but this process has already produced a classic debut album.

As you’d expect from a band as clockwork tight and renowned for perfectionism as Kraftwerk, the quality of sound and precision of delivery is so spot-on as to be worthy of a studio recording.

There’s definitely still some fine moments in what follows ["Little Love Caster" and "Devil's Resting Place"]--there’s certainly plenty more of everything in a record that stretches towards the hour mark-- but it never quite reaches those early heights again, which are possibly as high as Marling has reached in her career thus far.

Overall, the album’s songs feel fuller and less wiry in Kidjo and her collaborator's hands. In many respects, the differences aren’t radical, if only in the sense that the band’s influences are so pronounced on the original album. But that said, there are moments that are almost unidentifiable.

The remastered first disc makes up for the lack of any truly juicy bonus material, being that it's a great album in itself, and is more than worth the price tag.

Merritt has lifted the curtain JUST enough to draw us that bit more into his world, while still maintaining both his brilliantly singular world-view and style AND enough distance for us to look on in abject admiration.

Heaven & Earth is ultimately yet another example of Washington’s incredible prowess behind the saxophone but also as a composer.

While Deerhunter may not be a solo project--though a couple of the songs here were recorded solo--this band is the musical realm of Bradford Cox. And if he hasn't found the same amount of fame as Win Butler or even Avey Tare, then probably it's because the lethargically gorgeous world he has crafted isn't inclusive enough allow large numbers of people in.

Dissociation may not be the dream record for those who want Dillinger to return to the pure intensity of Calculating Infinity or Miss Machine, but it does make a suitably multi-faceted and powerful closing statement from one of heavy music’s most brilliantly insane bands.

Her second full length is a compelling pleasure that rewards additional listens.

It's a richly evocative record that is impossible to sit still to and confirms Laveaux as a unique talent.

It’s clear that the 33-year-old has lived and lost, and drunk and cried, but has emerged from it all as a special talent.

As it is Luxury Problems is a shift in a new direction that's not quite bold enough to make the jump in full, but still loaded with incredible ideas.

A disparate yet cohesive collection of songs.

As inconvenient as it may be, even if you already own this album it is well worth purchasing once again in its new form, if, of course, you can afford the ostentatious extravagance of buying the same Nineties lo-fi record twice within the same lifetime.

Whilst they dream of a home that can no longer be found, there is some comfort to be found here in the new family they are building around them with the power of their music.

It is an astonishing album, cohesive but wide ranging, sometimes presenting Low as they were, more often seeing the trio forge on until guitars dissolve, words dissolve, flesh dissolves and everything becomes pure light.