Regardless of what the future holds for Led Zeppelin, the record shows that this single concert in the O2 Arena certainly was a celebration day for all.

Elverum has created an album that demands your time and attention, not to mention any memories you may be willing to part with.

Too often the way of the beat ends up a distraction rather than a fully incorporated addition to good songwriting.

Grace/Confusion is an aptly confounding record, its six tracks very much dissimilar to each other yet held together with a sense of grand gesturing and tireless virtuosity.

Where before, sounds could often exist along similar planes, he's now added a multi-dimensional aspect, with Exoskeleton in particular.

The Odds is excellent, because the odds are never against him.

Kendrick Lamar may not have saved hip-hop, but he's certainly provided us with one of 2012's best records.

While it's hard to say whether or not Our House on the Hill is truly a great album, it's clear that with this record, The Babies have defiantly surpassed the less-than-lukewarm expectations geared towards them to create a pop record ripe with personality and flavor.

It's a brilliant, mainstream indie rock album from a band who have for too long operated on the margins of, for want of a better word, the 'scene.'

When this album hits, it hits hard, but for the first time in their career, the barrage is intermittent instead of constant.

All in all, Instrumental Tourist offers more proof that these two are undisputed masters in their field, regardless of how necessary a collaborative effort like this really is anyway.

While all of the songs on the Ghost are good, the EP's identity crises will keep pulling listeners out of the experience.

This EP is not a singles-ready collection, nor should it be. Instead, the atmospheric songs do their part to transport the listener to another mood or mindset.

Rarely is an electronic album like sparked with such radical confidence.

It's all powerful stuff and it can only be GY!BE.

Smalhans won't be the most memorable record of the year, but that's partly because its great strength is its subtlety, which makes it constantly refreshing.

Its intensity has style, whatever Zeros lacks in substance or license, and an enjoyably infectious pulse that's consistent up until the final bits of backwards sound rotates during ƨbnƎ ƚI.

There's much to recommend Just To Feel Anything and while, as with all retro-leaning instrumental rock, the question of its exact purpose is perhaps a little hard to answer when the details come together, as in Adrenochrome's shifting bass-line, or in how the title track gradually blossoms into life, such concerns are ultimately rendered entirely, wonderfully, redundant.

This album is incredibly intriguing and was executed beautifully.

Many of the tracks on Dos! are merely soulless specters of previous work from Green Day's "golden-age."

For a collection of songs that are supposed to be carrying the weight of an imminent apocalypse on their shoulders, there are very few moments to be found on Top 10 Hits that seem to be affected by this burden.

It's short but manages to feel long. It's interesting but manages to feel dull.

Much of Cobra Juicy finds itself operating more on the sensitive side of their distinct weirdness, with the album sporting some of the bands gentlest, breeziest, and most romantic sounding tracks yet.

A lot of the time, this album doesn't do enough to sound much more than merely pleasant.

The Hood Internet couldn't decide whether to make a party record or a moody record. They tried to do both and succeeded at neither.

You can imagine, and probably relate, to the monotony and helpless angst that attacks us when we're a certain age, going through certain ritualistic processes of life. So imagine this record as the soundtrack to those feelings, and how liberating, not only that would have felt then, but does feel now.

Mostly everything is contrived and cliché, lifted from a stock collection of guitar rock and electro rock of the past ten years.

These songs feel more accessible and much less significant. There are a few tracks here that reanimate that sense of excitement which permeated his previous record but they are few and far between.