Whether there's enough energy, fraternity and songs left in the GBV tank to warrant more new material on top of this year's LP trilogy remains to be heard but this solidly-built long-player successfully marks the end of an unquestionably enjoyable and productive year in the band's admirably contrarian career.

The guitars and drums machines and electronic selections are a bit unlistenable. There are some redeeming qualities, however, with a solid groove-ridden guitar fashion show with "I'll Sue You" and an eccentric but extremely tasteful European guitar ballad in "Lisbon".

The music on Twins is more of the fantastically great quality we've come to expect.

The music is repetitively tight and although not much more than a three-set EP, The Ganzfeld EP is a strong showing.

Firmly grounded, it's definitely the band's shining moment so far.

All of the pop-coated rock that was immediately catchy, aggressive, melodic, seductive, melancholic, and driven from those two albums [Garbage and Version 2.0] can be found here – from the ramped up, unrelenting beats to the bright electronics and propulsive guitar lines, to Shirley's changeable, ever-engaging vocals.

While tuneful and solid, [In Time To Voices] is not as spectacularly primal as their initial offering Box Of Secrets.

RYAT takes her technique a step further on album #2, diversifying her sound to include symphonic strings and other instrumentation. She also delves deeper into a more expressive, sometimes vulnerable, vocal delivery, getting to the root of her emotions and letting them take seed in song.

Cobra Juicy employs a richly flourished amount of instruments and sounds that are catchy and full of life.

These 7 songs are powered by strong emotions and a dynamic melodicism and polished to a burnished glow.

Each man delivers touches that are downright unique to their brand of music, but together, they carry a strong penchant for the greatness of indie rock. It's never groundbreaking, but it doesn't have to be either – A Thing Called Divine Fits celebrates music with terrific, yet humble, results.

There are well-defined marks of maturity in every aspect on this record.

All told, this is undoubtedly one of 2012′s most unexpected pleasures.

Pop sensibilities are allowed to swell over, into and around each other; each song blends the seams of the core into a fragmented, disjointed, appropriately-meshing of sounds and in the end, Love this Giant is a magnificent triumph because of it all.

It's a soulful country stroll, which favors heavily on career building and that is something that Dylan Leblanc is sure doing, and quite swimmingly if I might add. Bravo.

The final impression The Seer left me with is that of a sprawling, lacking in cohesion and over indulgent album that fails as often as it succeeds.

The North continues to show off their skill and while nothing earth-shattering will be found here, it's something to fully bask in.

Life Has Not Finished With Me Yet may not be the most instantly-gripping Piano Magic LP, however when granted some mandatory immersive listening its enveloping and eclectic embrace is hard to resist.

This is a transitional album, it seems: there are a lot of attempts here to do something new, not all of them successful. Still, it will be exciting to see what they transition to.

The band resorts to an 18-set record simply because everything is indisputably necessary and furthermore, solid gold.

Continuing to mystify audiences with ethereal, oft-experimental electronic music, Shackleton delivers one of the finest jewels of 2012.

Dreamy at times (Crawlersout), with shimmering synths and picturesque melodies, there is a haunting beauty, almost terrifying, that surrounds the listener, almost as if one is sitting inside a sonic cocoon while taking it all in.

Segall takes us on a tour de force that is short and succinct in nature and delivery: the music swells with an infinite amount of pulse and drive and supported by Segall's remarkable ear for melody, it's simply another winner in his long-standing discography.

Liars have created another standout album that while dissimilar from the rest, is nothing short of amazing and nothing of a surprise from such an exceptional band.

Vastly rich... Ocean's voice is a thing of beauty – clear, crisp and almost, divine – he speaks of truth in an unabashed manner.

There is a subtle grandeur to George Lewis Jr.'s voice and musical nature.

This is music to celebrate life with and to joyously fashion because it's certainly amazing.

With Port of Morrow Mercer digs deep in forming a polished and almost, muscular relationship with the music.