So much of Illinois feels magical, however, in much the same way as a large State Fair: there is commotion and wonder as the population is continually enchanted by progress, but to unknown purpose.

MMJ’s musical palate has radically expanded: the reverb and alt-country trappings remain, but they no longer dominate the band’s aesthetic. In nodding to U2, John McLaughlin, Sunny Day Real Estate, Mercury Rev, The Clash and countless other icons through a holistic approach to the pop canon, James and his band mates refuse to let sonics define them.

Throughout Merriweather Post Pavilion the band mixes instrumentation and samples and voices in a way that seems to be an advanced or accelerated development of past triumphs.

Push Barman To Open Old Wounds is a rare species indeed; though all of the songs could be considered “hits,” the album avoids all of the tackiness associated with greatest hits collections.

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

Excluding the established Radiohead franchise from consideration of In Rainbows, it is still one of the most compelling recent releases, and should be considered for 2007's Album of the Year in any context.

It is incensed, dark with disappointment, and shows a startling new side to Sleater-Kinney; while its intensity makes it one of their best albums to date, it isn’t here to make friends or fans.

The whole of the album is stunning and unique, and if the thematic gender-bending core of the album makes a few people ideologically shy away, then it’s truly a shame.

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.

This is a hell of a record.

The strength of Person Pitch is that it really doesn't matter what label might be affixed to it; quite simply, it is a gorgeous album from beginning to end.

One of the finest pieces of pop music to drop this decade.

This double-album is just as hypnotic, just as overwhelming, and awesome enough to win over a new battalion sleepyheads for the next six years and beyond.

Perfect it may not be, but as perfect as possible it might, and Let's Stay Friends certainly has more than enough fervor to make it one of the more refreshing punk purist releases since Fugazi laid down a baker's dozen of songs in the last century.

The XX is for lovers and non-lovers alike, though even its surefire appeal I wouldn't call this a pop album. I would deem it sensual, musical in-out.

Neon Bible may be a bold departure from the beloved Funeral, but the divergence is as inspired as the music itself.

Perhaps taking a cue from another seminal band, Talking Heads, The Suburbs is a more restrained, tempered affair. Yet the beat of their bleeding heart still remains...

Kala is only received as a political record if you listen up properly. The music itself no longer asserts itself like a militia; it's too calm and more scattered.

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

If the Flaming Lips mated with Marilyn Manson and ate Underworld for breakfast, the end result might sound something like Battles' debut album, Mirrored.

How I Got Over is also the Roots' best listening experience since Things Fall Apart over ten years ago (a rap eternity).

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.

Thunder, Lightning, Strike is simply amazing. It is filled with boundless, glorious noise, sewing together flamboyance, quirkiness, sturdy sampling, and a well-traveled feel that can take you anywhere you want to go.

Only Deerhunter makes echoes without egos, grounding even Bradford Cox's most wayward divergences in an all-encompassing blend of simple rock stylings.

Every song here, on both discs, is interesting and amazingly well-crafted.

It's hard not to stare in open-mouthed amazement at the sheer brilliance of Black Sheep Boy, though you're trying to clinically dissect all the elements that make it so.

Neither the songs’ structures nor their lyrics offer rich rewards after close listening and dissection.

Boxer is another accomplishment for The National; more understated than Alligator, yet just as alluring, and right on target.