On Heaven to a Tortured Mind, Yves Tumor clearly relishes his shift to microphone caressing rock star. Whereas on previous albums, he would obscure himself behind the music, here he steps out of his sonic chrysalis, dons some shiny black wings and soars.

One of this year’s most striking releases so far. Add in a killer style, playful energy, impeccable production, incredible performances, and some very important representation, and you’ve got one of the most striking pop records of the last few years.

Like any worthy match, the coming together gives each aspect assets that they'd be wont to find otherwise, the eletroclashy bursting with depth and the indie-croon thankfully adrenalized.

Accompanying a pure individualist and plain speaker like Nelson strips the Marsalis Quintet of its preciousness. Here, Marsalis and company sound natural, loose, gritty, and certainly inspired.

This is an arresting album that doesn't let go of your attention.

This is vintage neo-soul and future rap hand in hand; a soulful sanctuary for those turned off by the austerity of mainstream mumble rap. Noname stands front and centre of the movement, existing in the same historical moment as Kendrick Lamar, Toni Morrison and Nina Simone; sincerely engaged with social realities--redefining the contours of rhyme.

Drift Multiply requires zero thinking or analysis to enjoy. Listen attentively, though, and it becomes apparent that this album is a game-changer on multiple fronts. Consider it essential listening, regardless of your tastes or listening background.

If you are impatient, you’ll dread wondering if some of the songs are going anywhere, but most listeners will be fully rewarded with the promise that even the most ominous music on here is leading up to something transportive.

Amadou & Mariam’s latest encompasses a whole host of sounds and serves as aurally delightful proof that Bagayoko and Doumbia are unafraid of musical evolution. With such an embarrassment of musical riches, chances are you’ll find something to love on La Confusion.

Brilliantly textured, brilliantly sensitive, unrepeatable by its very nature-this is a great example of a sound recordist's art.

The reason Tell Tale Signs works so well from start to finish is that all the songs, even those that are modest on their own ('God Knows,' 'Miss the Mississippi'), are illuminated by the company they’re in.

Given the sometimes-dodgy, bootleg-quality sound, this set is probably not for the casual Iggy fan, but for anyone who has the albums and wants to recreate the falling-off-the-edge experience of a live concert, Roadkill Rising is a consistently strong set of performances in one handy package.

Where Does This Door Go improves over his last effort, which was already pretty good to begin with, and may go down as one of the year’s most exceptional releases. Where Does This Door Go is as refreshing as a tropical breeze, if not a good cup of joe at your favorite hangout.

A political broadside aimed at the hostile takeover of America by Wall Street traders and greedy corporate raiders, it's guaranteed to please anyone inclined to give it a sympathetic listen.

It's without a doubt the best hip-hop release of 2010, and might as well get ready to earn praise in the smart circles as one of the best overall releases of the year as well.

Maxwell might be delivering one course at a time, but for now, delivering one of the best albums of 2009 will sate your appetite just fine.

While this album isn't quite as good as the now legendary Stillmatic, it is one of the best hip-hop discs to drop in some time.

Shearwater has magnificently outdone itself. Not only is Rook destined to be named one of 2008’s favorites, but it could be one of the best albums for years to come.

Walls Have Ears is certainly less valedictory than Live in Brooklyn 2011. Yet, by virtue of this, it gives a stronger sense of how Sonic Youth earned their unimpeachable credentials through a long-standing ethos of contravention that unsettled musical and artistic complacencies of the time.

Silver Mt. Zion provides ample proof here that it has become the unit by which the work of those musicians who pass through its ranks should be judged.

[A] freedom to push things to extremes is what makes In Case We Die such a thrill ride.

A headphone trip for the ages, Primrose Green is a diaphanous tapestry that envelopes our collective musical history.

Melodrama finds Lorde producing the best work of her career so far, crafting an ambitious and uncompromising pop statement suffused with intensely personal artistry. Both jubilant and frightened, insecure and proud, the album establishes her as a pop star on her terms.

Innocence is Kinky might be a more clear distillation of Hval’s vision, but that’s only because the gaze is fixed so intently from performer to perpetrator.

Brown and Amos have intelligence to burn. Everyone’s Crushed soundtracks our present frenzied moment in new ways, portending a mutual future neither bright nor grim but, like this band, is inescapably singular.

This is a superb, must-have album that places Ty Segall firmly at the centre of the garage scene and continues his extraordinary evolution as a multi-faceted, multi-talented musician.

Maybe this is their best album.

In an ideal world, Street Songs of Love would be topping the charts. Sadly, it's not all that likely, but with the management magic of Jon Landau behind him and songs as good as those on Street Songs of Love, Alejandro Escovedo may finally be recognized as one of America's finest musical treasures.