We could have used more of the Incredible String Band or Richie Havens! But these are individual complaints. The set as it stands is the ultimate document--thus far--and will likely be for some time to come.

Despite being only a side project, the sheer quality and array of styles found on Owl John's self-titled debut is testament to the prolific songwriting skills of Scott Hutchison.

This is inspired stuff from a rebel who still has plenty to offer.

Battles pack so much into Juice B Crypts that, perhaps more than any of their albums since Mirrored, it needs to be taken as a whole to appreciate its constantly changing, consistently engaging sounds.

Maritime might be a light, almost frothy album, but that's exactly where its power lies.

La Roux's dedication to their aesthetic makes this an album where the songs are variations on a theme, and on the rare occasion where the songwriting isn't razor-sharp, the style threatens to overtake the substance. However, that devotion also makes La Roux a standout, not just among the many other '80s revivalists, but the entire late-2000s pop landscape.

An audacious spectacle of vacuous pomposity as well as one of tremendous lyrical depth, Watch the Throne is a densely packed amalgamation of what Jay-Z has termed "ignorant shit" and "thought-provoking shit," with creative productions that are both top of the line and supremely baffling.

While "Real Life" was so fully realized that it seemed to have a life of its own, To Survive feels more like songs written by somebody than something that materialized because it had to.

While the songs are good--there's canny craftsmanship behind the Stylistics salute "Stay in My Corner" and the steady crawling "Put a Flower in Your Pocket"--it's this immersive, trippy atmosphere that distinguishes the Arcs and makes Yours, Dreamily live up to its name.

Undoubtedly, she has the charisma and chops to be convincing on both bubblegum and ballads but 1989 is something else entirely: a cold, somewhat distant celebration of all the transient transparencies of modern pop, undercut by its own desperate desire to be nothing but a sparkling soundtrack to an aspirational lifestyle.

In a few cases, the songs rival or eclipse material on Sound of Water, but they probably weren't included because they didn't fit the general, easygoing flow of the immaculately sequenced album.

While there are some fascinating passages on "Souvenir in Chicago," including sections inspired by a shared love of the minimalism of Steve Reich, the piece never quite becomes a coherent work.

Though his solo tracks are fine compositions, its when Gerald mixes the dark drum'n'bass beats with sultry elements and star female vocals, does his production come alive and the album become worthwhile.

Sadly, Poe's work might not be welcomed in the mainstream, which is disappointing because her original compositions have the makings for a new music revolution alongside the likes of Radiohead's Kid A. Haunted is in its own class of twisted intelligence and beauty.

Jurassic 5's Power in Numbers is darker than their first full-length; not as fresh and exuberant, but much more mature and intelligent.

Even when their brazen demeanor shifts tempo for the stainless melodies of "That's What They Do" and "Wake Up," Sahara Hotnights offers a musically cultivated sophistication that's missing in bands like the Donnas and the Vines.

We Fight Til Death gets distracted easily; all of its ideas are great, but they don't always come to fruition.

Stereo is the first Westerberg solo disc that captures the elusive feel and emotional resonance of his best Replacements tunes.

The band manages to retain a good deal of their trademark zaniness while producing what might be their most focused and polished work.

These flashes of greatness don't quite add up to what could have been, but the album as a whole is still quite exceptional.

One can't help but feel that this is still a transitional album in general, but at least they've overcome their Garbage fascination and seem to be delivering music more in tune with their attitude and style.

Mt. Eerie is a truly stunning album, managing to be deeply beautiful and unnerving, as well as deeply thoughtful, without ever seeming pretentious or heavy-handed.

For the most part, this is more of the same, which disciples will have no qualms about.

Another beautiful record that stands right alongside the group's best work.

For those who find themselves lingering on the fringes after her debut, There's No Home is the greeting card to dive in with both ears and get your ears drenched in pleasure.

One of the better albums of 2008 without question.

Far from being a throwaway side project, this unique album is as refreshing as a gapper to right center, providing, of course, it's your team up at the plate.

Roadhouse Sun sounds like he's still making his "Greetings from Asbury Park"--the kind of record whose clunkers are obvious enough to put a chink into the album's very real virtues.