This is the kind of record you'll spend days rocking out to. You'll get lost walking around listening to it (I know I did), think about quitting your job to relive the days when a record like this was all that was allowed to matter.

Perhaps their best outing yet.

Cleaned up, stripped down, and melding dance music seamlessly with post-punk, Sound Of Silver is as solid as a dance album can get.

A masterpiece that celebrates life, in all of its horrific, painful, magical and wondrous glory.

It’s apparent that this album was made with particular care, as most of John Vanderslice’s works are, but there are many cases where a more mature display of music appreciation is taken; previously, when met with such dogged emotional complexity, Vandersilce would rely on experimentation. Here, he stares straight on.

A dazzling collection of songs, Putting The Days To Bed cements Roderick's reputation as one of the best songwriters working today.

Destroyer’s Rubies is every bit as marvelous as his landmark Streethawk: A Seduction.

Ladd’s drive and focus throughout the entire album keeps the listener’s ear, as each moment is unexpected, even after multiple listens.

The disc is a dense, cerebral, sweated-over work of art.

The '59 Sound delivers just about everything you could hope for in a well-written rock album.

This will most likely be the best hip-hop album of the year as well as a contender for best overall album of the year.

Memory Man will be one of the strongest efforts released in 2007.

Every song is steeped in melancholy, but the underlying beauty that ties it all together is in the courage of Ashworth's characters to face the unforgiving reality they occupy.

It's Frightening kicks into high gear from the get-go, and never looks back.

This isn’t just Almost Killed Me 2, it’s an exploration of what lies beyond that initial surface – and the truth ain’t pretty.

Darkness at Noon is the most exciting record to be put out this semester.

On the whole, The Sunlandic Twins makes almost everything else today seem diluted and stale.

Encapsulating everything that has come to pass since their debut with "Organix" in 1993, Rising Down is the best The Roots release to date, bar none.

This really is pretty music.

With its mind-blowing dynamics and wounded memories, bandaged up in affecting, mature lyrics that dissect relationships with a therapist's perspective, the wisdom of hindsight and an artist's touch, Let's Build A Fire is almost flawless.

Places Like This is right up there with the year's best madcap adventures into dance and rock.

The music is what makes Lupe's pretensions palatable.

It's a shame if Dark Night of the Soul ends up relegated to a cult souvenir; it's truly exceptional as music.

Although the loud tracks are the most immediate, the subtleties of later numbers like "Reptiles" prove nearly as rewarding,; don't even think of stopping play before "Gunman" shows what these pros do with a dance number.

Whether blazing a tight new trail or feeling its way in the darkness, each tune on the album heads somewhere, collectively making as much of a stylistic progression as the recording of "Our Endless Numbered Days" made in fidelity and depth.

Challengers stacks up against the pillar of "Twin Cinema" just fine; it is the more restrained of the two, equally as satisfying, and more stylistically varied.

Release The Stars swoons and sweeps until the final curtain and Rufus Wainwright has delivered music perfectly suited for the elaborate set of the world around us.

But what makes Made In the Dark their best album to date is how great the ballads are, a trick no mere techno act was supposed to master.