My Morning Jacket has come into its own here, transcending underground fetishizing to become the kind of band that can make jaws drop and tears fall anywhere it damn well pleases.

No period of Ferry's extraordinary career goes untouched on Frantic, easily his most rewarding solo work since Roxy's disbandment in 1983.

It’ll take an adventurous set of ears and some headphones. Don’t worry, take a deep breath and relax. You see, Beans makes it easy for you by spitting with what is, perhaps, the most technically gifted flow in hip hop today.

You Forgot It In People is a tremendously accomplished album, magnificently achieving its goal of creating bonafide pop music and doing so with admirable style.

Frankly, the results are incredible.

A fantastic revelation.

All you have to do is plug Coral Fang in and turn it on to experience [Dalle's] greatness.

Their best album since Dubnobasswithmyheadman.

More rounded and less determinedly schizo than Fantasma, Point is a great album of delicious odd-pop made by a whimsically modest genius.

By taking the visceral punch of Dig Me Out and The Hot Rock, blending that with the pop sensibilities of All Hands on the Bad One, and throwing in a few bonuses, Sleater-Kinney have crafted their best album yet.

It's an album that is filled with plenty of big hooks, ample rock crunch and a loving attention to detail.

Bachmann’s transition from indie curmudgeon to singer-songwriter is complete: his arrangements are now horn- and string-fattened creations of grand sophistication; his songs now contain hope and broken spirit simultaneously; but the most significant growth displayed on Red Devil Dawn, and the reason this album is Bachmann’s finest moment since his Barry Black days, is that you can now see Eric Bachmann as the subject of most of his songs.

The fact that the music, vocals and melodies are stunning is just icing on the cake - a cake that is crumbling before your eyes.

Review 1: He may well be repeating himself... but Spiritualized are still a force.</A> <A HREF="http://www.stylusmagazine.com/review.php?ID=1300" TARGET="_blank">Review 2: With Amazing Grace, Pierce has achieved a perfect balance between his traditional blues-rock leanings and his appetite for studio excess. [Score is an average of both reviews: 79 and 90]

A tremendous step forward, an emotional, melodic smorgasbord of pop bliss.

It&#146;s not a real consistent journey, because of the eclectic styles, but the masterful sequencing makes it flow smoothly from track to track.

Feast of Wire is a startlingly diverse album.

Supper is a fine accomplishment, a record of sad grace and folky simplicity that outdoes its predecessors and hints at a very worthwhile future.

Few songs on the album are as perfect as [the opening] two, but many of them are nonetheless excellent.

It&#146;s the rare reunion project that actually adds something of significance to the band&#146;s catalogue.

A disjointed mess- brilliant songs gone so awry that I find myself no longer excited by the prospect of listening to the album through, but disappointed.

The nice thing about God&#146;s Son, although it isn&#146;t fantastic or at the level of Stillmatic, is that it honestly doesn&#146;t feel rushed. Nas is responsible for the lyrical content of the album, and it, like his previous releases, is nearly flawless.

Never, Never, Land exposes Lavelle and File as, surprisingly, excellent songwriters with an ear for a good chorus and a knack to fitting performers and material together.

The songs are intriguing and engaging, invoking the ability to make audiences to both dance and pay attention to how well the music has been produced.

A tender, imaginative collection of disparate songs, How Animals Move is less an album than a steady stream of wonderful, unpretentious surprises.

Betke hasn’t merely licked his wounds and retreated into familiar territory, but fused some lessons learned from his own back catalog to create a shiny new beast, at once identifiable as his work and yet something tangibly different.

One of the better American rock albums of this year.

It’s not that the male-female duo vocals make it or even the moments where the group channels the Delgados in their sublime use of strings and horns; it’s more that Stars has gotten tighter since their last outing.