Bold and exciting, the project demonstrates the infinite possibilities available to modern producers, if only they look in the unlikeliest of places.

The Mancy of Sound and its predecessor are straight-up essential listening, and gloriously exciting music. The pulse quickens each time I put this one on.

The result makes for a listening experience that's intense and potentially awkward, but one that also somehow rings true.

Tripper is the cleanest, leanest--and, arguably, most accessible--record Hella have made as a duo, showing off some fantastically tight playing and even a few hints of what their music desperately needs: clarity.

Violent Hearts occasionally plods, as on "No One," "Other Girls," and the opener "Believe," (at least before its delightfully messy climax). But more often it quietly impresses, revealing new melodic and harmonic strands with each subsequent listen.

Sometimes he continues with the same train of thought; sometimes he changes direction completely. This isn't technique on display. It's more like improvised self-analysis in musical form.

Modeselektor's willingness to collaborate and explore sounds while still sticking to their identifiable, fat, bass-heavy crunk techno style is worth applauding, and there's no reason to think that they won't continue to remain relevant.

In the end, Hall Music is an enjoyable but paradoxical album, both an expansion and contraction of Svanängen's palette.

In the end, Wiltzie and O'Halloran's collaboration stands as an impressive album on its own merits and one of the strongest efforts in the world of Stars of the Lid offshoots.

If anything, the album isn't obnoxious or overproduced, and those who are more forgiving of beauty-mongering landscape pop likely have a year-end list candidate. Those who are into Apparat's more adventurous work and collaborations, though, should pass.

Danilova takes the peaks higher than ever and manages to avoid both the pitfalls of monotony and excessive experimentation.

Organ Music may not quite be what Krug hoped for--and it's by no means perfect--but it is intriguing and occasionally illuminating.

As a mood piece, there are poignant moments, but nothing resembling a clear emotional statement.

Mountaintops certainly isn't radically different from Mates of States' other albums, but when the band has this kind of rapport, there's no need to deviate.

In Heaven is a significant advance for Twin Sister, both in the way that it smoothes over and clarifies its original aesthetic and in the way it explores a handful of new avenues.

Ancient & Modern's one sticking point is that, like 2007's predecessor Natural, it's a slow grower.

Perhaps whatever he's wishing for or doesn't have is something too personal or boring to tell.

By keeping everything in proportion, she's made the most easily approached record of her career.

Throughout Megafaun, the balance between expectation and surprise is maintained neatly.

While Lortz's body of work as a songwriter has grown larger, The World is Just a Shape to Fill the Night may occupy a spot similar to the one Get Lonely owns in The Mountain Goats' more varied discography.

There are messages in Wild Flag's music, but there are also challenges to the listener, and to the rest of rock music in general: This band built its own sound out of stock rock 'n' roll parts to make one of the best albums of this year.

What was once an exciting examination of a seldom-explored corner of rock and roll has become a listless, mechanical affair.

The more Clark edits, the more she refines, the stronger St. Vincent becomes. At this point, it's just a matter of consistency.

Barely out of her teen years herself, Marling explores a whole spectrum of female experience with empathy and intelligence.

While there are some real successes here, Father, Son, Holy Ghost is extremely inconsistent.

Cut Off Your Hands' anthemic-ness--its lack of austerity and rigor--will put some people off. Yet there's something rather good in the way these songs bring together luxury and despair.

One of the risks of having faith is becoming deaf to plain truths. The truth in this case is that most of In the Grace of Your Love is lousy.

Naive and wide-eyed, Wander / Wonder tries so damned hard to feel real, to make big dreams and grandiose plans feel distantly (but not quite) attainable.