Thecontrollersphere is another thrilling addition to the Of Montreal catalog, but it's hardly a welcoming entry point for those unaccustomed to the depraved yet tantalizing world of Kevin Barnes. For longtime fans though, this EP represents another exhilarating turn from one of America's most singular musicians.

This is some of the most mature and eloquent music I've heard in quite a while.

If it doesn't put you to sleep, WIT'S END provides a rich and empathetic companion to loneliness.

The Only She Chapters is yet another confident addition to Scott-Herren's collection as Prefuse 73.

I'm sure that O'Hagan realizes that his band has made a name for itself in being able to almost take the listener away for an entire album of music. The experience is definitely a good one and a huge reason why Talahomi Way is a success because of it.

Salon des Amateurs is much more than striking the iron while it's hot, not just because of its singular attributes and styles but, frankly, it's yet another fantastic album in the span of a few months.

A fine addition to the canons of both Callahan and American music.

Sometimes the best albums are pieces of high art to be appreciated from afar. Others are treated like your favorite movies, invoking feelings of when and where you first experienced it. And yet others are treated like books that are so distinct in invoking another time or place that you are escape into them often and without fear. Canary is that kind of album.

Each track is filled with indelible melodies and hooks sure to have you keeping time with your leg or tapping your toes. But with music like this, singing along is the ultimate litmus test, and unfortunately the non-descriptness of the vocals leaves this album lacking a bit of personality and memorability.

There is a heavy Krautrock /post-rock vibe going on with Little Joy, which works for, and against, this album it at times.

While it will inevitably be argued as to whether or not Tomboy is really a work of startling originality or perhaps just a long lost companion to Björk's Vespertine, it's hard to deny positing that we've got one of the best albums of 2011 finally in our hands.

As the result of their impassioned musicianship and disciplined songwriting, this band has always had go-to credibility; with C'mon, they've raised the bar higher still.

Passive Me, Aggressive You is novel and refreshing, even with overt pop influences.

I think it would be safe to say that while her latest release was noticed with excited anticipation, not many expected it to be quite this good.

The music is easily attended to and the mutual expression of feelings--as they're expressed through stunning instrumentation--is a terrific aspect that Little Me Will Start a Storm definitely possesses.

Common Era is remarkable for a variety of reasons that transcend textual directness. It defies expectations in ways most musicians don't even conceive, let alone attempt.

Although The White Wires put a fun, sunshiny spin on things, this type of music has been played out by countless bands ever since The Ramones perfected the formula in the mid-70′s. But if you're just looking for something rowdy, fast and fun for the drive to your favorite party spot, put on WWII and crank it up!

Starfucker definitely have a gem with Reptilians, and have managed to make a remarkable album from a genre that can become quite stagnant and derivative of itself.

There's a definite new feel to an album by Bibio in 2011; while many of the singular trademarks remain, there are choice additions that make for another triumph of a release for the British producer.

Obits revels in the sort of music that's at the other end of the spectrum from brooding introspection and critical listening; these songs don't ask for a response so much as they demand a reaction.

Ultimately, the hushed tones of the contemplative indie-twee The Caribbean weave on Discontinued Perfume is moderately pleasing yet unspectacular.

Having been away from being a working band for a half decade, the Strokes have returned with a more polished take on their classic sound. Different: yes. Disaster: absolutely not!

Amanda Palmer Goes Down Under is, simply, a lot of fun. Some of that fun might most appeal to the countries it's directed at, but those feeling no particular kinship to Australia or New Zealand will still find Amanda's quirkiness endearing.

Whereas previous Elbow records set a mood, Build A Rocket Boys! may require a certain mood, and a few spins, before the lofty expectations are shed and you're left delighting in its radiance.

Although their own thickness seems to get a bit cloudy at times, it's never unassuming or presumptuous. Instead, the noise that creeps in and out of Constant Future is always consistent and never over-abundant; in turn, it's very simply a solid release.

With one foot rooted in tradition, and the other free to roam where it likes, Asleep on the Floodplain is a quietly great effort.

Mascis does a superb job of firmly establishing that this is his music and though guest artists make timely contributions, there is no denying who is the star of this show.

The album is quite fun in places, and shows some actual songwriting acumen form Liam Gallagher.