Stylistically, while it can all fit in to the category of Indie/Alt. Rock if it had to, every song brings something different to the table.

Quiet, diligent, and touching--this could very well be These New Puritans’ masterwork.

Cold Spring Fault Less Youth is as confident and assured as any great follow-up can be, showcasing a group that is not afraid to cross genre-borders and cast aside the meek post-dubstep moniker.

The National are such a powerfully gifted band, they need no theatrics to deliver an absolutely stone-cold beast of an album. With the music that is on here there is yet another thirteen songs to savor and salivate over until the next batch of songs comes about.

So there we have it, more of the recent same and sufficiently good enough to keep the good ship GBV sailing onwards. However, a little more variety and a few more Tobin Sprout songs next time around would certainly help to prevent any risk of drifting into more ponderous waters.

The album’s dose of personality and how it transcends beyond its influences is equally impressive and in the end, Elephant Stone is a solid outing.

While a few songs are leftovers from Angles and some were churned out “like the good old days” as they put it, Comedown Machine is a terrific release to The Strokes first five albums.

there is an impressive and ambitious sense of craftsmanship across the record that captures Blank Realm on the cusp of something truly special.

The songs on Bloodsports are suitable to excite the fans (Yes, they do still exist!), enthuse the critics, engage the occasional casual listener, and elicit a shrug from the general public.

At each fork in the road, instead of going one way or another, Lerner takes the fork.

It’s a multi-layered album constantly shifting in mood and sound offering the listener much to explore.... The band struggle, however, to distinguish themselves from their influences and constantly fall under the shadow of Can, Pink Floyd and The Flaming Lips.

A little less density and a higher level of self-restraint might have made for a more balanced collection admittedly but the irrepressible refreshed conviction is still impressive.

Amok is a tenaciously rich and strong album that is certainly the work of gifted musicians.

It’s an album that doesn’t reinvent the wheel but adds an extra corner and somehow makes it go faster.

Even if You’re Nothing lacks the raw immediacy of their debut, it sees Iceage defining the parameters of their sound.

Glossy production adds a haze of late summer mist to some cleverly realised songwriting and Hit The Waves is an album that stands on its own terms musically, without its needing to explain itself or its influences.

Home is an overall softer, lighter affair and one that deserves attention.

Overall, there is a very cloud-like vibe, reticent of stammering into a mysterious blend of genres.

These seven pieces invite the listener into an engrossing experience, one that requires attention but in the end, Centralia is a moving album.

Speck Mountain have taken the high road, sporting influences in their back pocket as a kerchief rather than wiping them on their sleeve.

Aptly an entire side-project, rather than a one-off on the electronic producer’s next album, the idea is fully fleshed into a discovery of solid notes.

For now Bundick has accomplished many great feats and with Anything in Return, the first great album of 2013.

Brokeback And The Black Rock reveals itself as a flawed yet still sporadically rewarding long-player.

Fourteen songs deep, each and every one is a terrific slice of electronic pop that definitely delivers astounding results.

The compositions, the choice of songs, the sequencing, his spoken word--the entire package--is a firm reminder of the immense talent Antony is; Cut the World remains another worthy release to take hold of.

The dozen songs on here make for a brilliant affair of subtly great electronic music that blends a fresh brand of styles into one compelling presentation.

With eleven songs, the album flows serenely well and sounds like a two part voyage; the second half much weightier, the first half perhaps more buoyant.

Superb album in every facet, it is the first time in a while I have been able to emotionally engage in an album right from the get go.