This is a great album, possibly the finest covers record in recent memory, and it’ll take some beating in 2008.

Not only is Seeds the most direct and optimistic album, but in some ways, it's their poppiest.

Being interesting, unique, fun and damn good is near impossible to pull off. Sleigh Bells has done it on Treats, and goddamn is it good.

This is perhaps his most beautiful work to date; its vulgarity is restrained but a sense of humour remains, and Wells and Moffat reach new emotional heights.

It's still considered the band's last album as an underground presence, so it holds importance as something monumental in the band's development. As an album, Lifes Rich Pageant is enjoyable and clean.

Big Thief proves that it can feed your head, your heart, and your hands in equal measure. Like the musical giants of old there is nothing they can’t do, ably going from strength to strength. Two Hands serves as the band’s call to arms.

Even if the songwriting didn’t completely explore the full scope of Cobain’s capabilities, Bleach also represents that point in time when money was an object and the music was all that mattered, a precursor to a cultural shift that made Sub Pop a national brand.

Not only are the songs uniformly excellent, they also show a mastery of the art of controlled dynamics, of tension and release, that most young bands ignore to pursue the catharsis of sustained intensity.

Those of us who aren’t already familiar with these tracks and are getting limited mileage out of Chasny’s recent exercises in finely honed border-psych will find that these patient, meditative, sky-minded nocturnes are just what the witch-doctor ordered.

The result is that most rarefied of things, a Paul album with no throwaways.

The album’s generative “concept” is as strange and incredible as its music.

I love it the same way I love looking at signatures in my yearbooks: as distant reminders of past friends and better times. Sure, this album is awesome, but the fact remains that this is a continuation of an old idea in lieu of a new one.

Mering has concocted a successor to Titanic Rising that any gambler worth their salt would have no doubt taken the under on. That Mering topped her own prior masterwork is its own reward and one we are no doubt not worthy of.

I can’t say enough nice things about Tunes 2011-2019; there’s too much to love about this damn thing. I especially recommend it to those who aren’t very familiar with Burial and are looking for something other than Untrue to sink their teeth into. It’s a monumental snapshot of the “second act” of his career, and should be on all electronic music connoisseurs' Christmas wish lists. Prepare to get lost.

Lykke Li holds to her regal aesthetic and simple drum and bass lines doggedly; whether stripped down or ramped up she has a well crafted, appealingly consistent sound, and it's what she puts over this that completes it.

Monoliths & Dimensions, present O’Malley and Anderson’s sonic murk as something to delve into, their inescapable walls of low-end suddenly beaming with purpose and a million and one instruments.

It’s as brazen, bold and brilliant as anything it’s done thus far. It is, as Thom Yorke claimed, very minimal. Yet, the album never sounds half-finished, but instead focused and refined. It’s as vital as anything the band has done.

Floating gracefully, and guided by a stylish demigod of his own imagining, he glides atop the current of the zeitgeist as globalized and immediately accessible as the modern urban hub he calls home.

It’s beautifully conflicted and human, and does provide a unique and unforgettable experience that will continue to charm with its paradoxical qualities for years to come.

Abstractions give way to specifics, and the result is a cascade of feelings, ideas, and images overlapping and enhancing each other in the listener's mind.

It's black metal for prog fans or math rockers, Liturgy's attention to arrangement and speed the sort of maddeningly precise output nerds like that eat up.

I can tell that you are dubious, but I can assure you, gentle listener – these are the goods.

A stunning collection of songs, in the grand Brit-pop tradition.

Clocking in at a mere 32 minutes, the album is conceptually and sonically tight.

Dum Dum Girls have graduated from a class of reverb junkies to becoming potentially one of the most potent and distinct pop bands of our time. End of Daze is on a separate level of artistic creativity and economy.

A Crow Looked at Me is what all art should aspire to be: honest, affecting, and unforgettable.

a record that is both this good and a display of a band with so much more to show us does not come along often.

This is Newman’s most touching, musically rich and consistent record since "Good Old Boys" way back in 1974; and it’s hilarious to boot.