The music is, as ever, varied and interesting. The Satanic Satanist is a guitar-centric album and it is all the better for it, as Gourley has a unique knack for riffs and leads.

Tropical Fuck Storm's latest record simply reproves their enigmatic worth, and then doubles down on it in a way that no other artist comes close to emulating.

Lungs is one of the most exciting, compelling, fearless and ultimately promising debuts of the year.

He trumps his incredible debut in every way without resorting to drastic tactics in order to avoid some sophomore slump, instead subtly perfecting his approach to great effect.

The production is solid and his voice retains that smooth edge that still carries with it the slightest sense of vulnerability.

What's right here is awesome, and I for one have got a lot of joy out of listening to it.

Whether he’s steering the band into uncharted territory or showing off his roots, it always sounds undoubtedly like a Woods album--and that’s perhaps the greatest achievement of all.

It's an exhausting listen, but what A Church That Fits Our Needs does so well is how it makes this loss palatable--the grief is real and heartfelt and sometimes overwhelming, but in its honesty and the warm instrumentation that Picker has mastered, it's thoughtful and all too easy to get lost in.

At this point in time, Act IV marks the pinnacle of a storied career for The Dear Hunter, and places them squarely on steady ground with nothing but bright lights on the horizon.

Album of the Year certainly makes a case for his continual progression into one of the best producers in the hip-hop game. Maybe next time out he'll release the 'Album of the Year', but for now we just have one of the best of 2010.

Dedicated is good, but it doesn’t whirl with the same destructive force; in that sense, it is Carly Rae’s first genuine failure in a decade.

Spiral is a swoon worthy record, and one that cements Darkside as one of the brightest glowing acts of its kind.

If Fiasco could take the energy captured on the breathtaking second verse of "Ms. Mural", a truly fantastic trilogy-capper, and stay there for an entire project he might finally make his masterpiece; this time around, though, unhurried and easy is a suit that he wears well.

Modern folk fans take note; it’s not every day we get the pleasure of hearing such an accomplished debut.

Spike Field does an impressive job of reflecting upon Maria BC’s recent musical endeavors while also advancing their sound.

For the die-hard Four Tet fan who jumps over every release the man has put out, Pink isn't really going to offer much outside of a rather flash piece of packaging that coincidentally happens to store all of his recent tunes in one convenient place. For others though, it's simply going to be another Four Tet release, which is a lot better than a whole lot from everyone else.

CRASH might not be up there with her best, but it's still a good pop album, and worth trying for any fans of the genre.

The Eternal is simply just another confirmation that Sonic Youth is one of the most essential---if not the most essential---indie collectives of the past thirty years.

Los Camp have never sounded better or more essential, even if it’s all a little Motion City Soundtrack-ish.

Defense of the Genre is the best major label release of the year, and the most surprising album to boot.

Perhaps the greatest compliment that could be paid The Rocky Road is to say it can easily be recommended alongside the best in the Dubliners and Luke Kelly’s catalogue, a distinction both Dempsey and Kelly would no doubt be delighted with.

It finds the heart of everything from "The Reak Damage" through to "Glory Hallulejah" and is content to let that heart meander at its own pace, and a result it rivals his more deliberate studio releases, breathtaking as they are.

This is Jollett and his band accessing their very best traits while achieving a sense of resolution, and it’s a gorgeous thing to behold.

The Historical Conquests is astonishing for its depth of exploration in the folk genre.

Awesome record.

Phoenix is much more than what floats to its surface, and far greater than the sum of its parts. It's an album of stories.

It’s been five albums now with this formula, and I’m not saying I’m looking for a New Coke version of Tiny Moving Parts, the formula is very good, but it’s holding the band back from being anything more than pretty good.

Animal Collective is a completely different beast on Strawberry Jam, and it’s beautiful at times, it really is.