Dekker has always seemed to me more metaphysical than mystical, but on this outing some of the lyrics are starting to edge closer to the easy contentedness of finding salvation through natural beauty instead of finding existential insignificance in the similarities of all matter. That said, there’s a good mix of elements here, and the increased focus on the diversity of the musical side of things takes the spotlight off the lyrics to a certain extent.

The Else is lined up with catchy, solid songs that I can’t help but sing along to. So though it’s not the best Giants album - it’s good, and it’s kept me entertained.

Beet, Maize & Corn is a pleasant album of calm, beautiful pop with a touch of class that’s rare.

Cansei de Ser Sexy is just so acutely gaudy and trashy that, despite an abundance of spunk and sneer, it comes off as disaffected and impossibly irritating.

If The Citizens' intended destination is a place of their own craft that lies beyond the boring boundaries of traditional pop, they can stop driving.

Car Alarm is essentially Everybody II; an album that subtly stretches the group’s formulaic parameters with rawer production and looser instrumentation but without cementing any concrete boundary-changes.

As two musicians who may have gotten slighted, their self-titled album is an accomplished and impressive debut.

Even at just six songs, they’re each powerfully presented and Perkins is better for it, in astonishingly marvelous fashion.

Orcas, stays in the same zone [gauzy ambient folk], but edges closer to the sublime and harrowing atmospheres more associated with Irisarri.

Poliça may have more to offer, especially if they can branch out from a blueprint that they rightly feel very comfortable with, but for the time being Shulasmith is a finely executed and thematically and emotionally rich record.

While individual songs work on their own, the album seldom succeeds as a whole.

Those whose expected Pollard to bow out in a blaze of lo-fi glory will be sorely disappointed, but true fans will recognize just how well the mid-fi approach suits Pollard.

Furies might not be as diverse as Birds Make Good Neighbors but it’s the strongest set of songs they’ve produced so far.

The group continues their fantastic, totally unique song structures, lyrics and instrumentation, resulting in the next evolution of a Decemberists album, and it does not disappoint.

For all its sonic roaming and mulching, Inside The Ships holds together surprisingly well as a combined entity.

The menace, exhilaration, and sheer catchiness of the band’s earlier songs, however, have been diminished, leaving pop and rock tunes that rely heavily on Adele’s vocals and a chronically agitated tempo to carry them through to the finish line.

Noir... writes some really genuine, cheery, memorable songs, but it’s just too much to digest on one record.

West ties in all of the band's strengths for an excellent outlook on what the destiny towards west might feel like and with it, an album of stellar psychedelic rock.

Everything about Staring At The X is tightly controlled and composed, from its guitar chords through its electronic bass lines right up to the mixing board pyrotechnics that propel the songs forward.

Twisted, mangled, and deeply submerged under the layers of bewitching muck are brilliant melodies with sonorous strings hidden between double-tracked guitars and gigantic, mesmerizing choruses.

On Magic Chairs, Efterklang manages to excise its most affected gestures, keep its penchant for wide-ranging adventurousness, and bring new found confidence to the more personal, micro-aspects of their sound. The result is a triumphant orchestral pop record which radiates with intelligence and touch.

Starting right where Ambivalence Avenue left off, Wilkinson’s strides on his inspired high with The Apple and the Tooth are again, an exceptional thing to witness.

As a whole, The Weight is a Gift wins because the band knows how to write a catchy song and make it both sad and exuberant at the same time, with an unerring pop sensibility.

In lyrics and music, The Long Blondes have managed to put out a sophomore album just as addictive and catchy as their debut "Someone To Drive You Home."

An album that finds them further exploring the depths of their palettes with another worthy album of expressive highs.

Whilst the nostalgia-soaked Sky Blue Sky will cause consternation amongst those who backed Wilco’s brave efforts to bend the staidness of plaid-shirted alt. rock, it’s still arguably one of the most charmingly-effortless records Jeff Tweedy has ever spearheaded.

Feels like an honest treat for longtime fans.

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.

This tandem of dream pop has crafted a beautiful, spectral and memorable album with Devotion.

With its restructured band lineup and multiple producers/locations, Fading Trails is unavoidably a somewhat dispirited and disjointed affair.

Beach House is the perfect accompaniment for an introspective day, or night, of watching the globules of a lava lamp slowly float and sink.

The unashamedly wilful reductionism of Brightblack Morning Light will either engross or alienate listeners, depending wholly on instinctive preferences.

While it may still fall short of the high-water mark established with Clarity, Jimmy Eat World’s latest is still a strong contender for the best album of 2004.

Mudhoney is a new band lyrically and emotionally.

Whilst as a whole The Catastrophist doesn’t surpass the high-watermarks of the band’s almost unimpeachable early-years pioneering, it does stand-up well as a solid and consistent collection to add to the post-millennial phase of the Tortoise canon, with just enough refreshed moves to keep the rust and cobwebs at bay.

Picking through Blurry Blue Mountain in stages, there is evidently a decent fistful of individually strong moments but taken as a whole its meandering, undemonstrative nature does make it feel like a somewhat makeweight collection; one that will appeal to few people beyond the existing Giant Howe fanbase.

With Crystal Castles’ infectious, eclectic music, this is easily one of the highlights of the year and a great addition to the super-genre that is electronic music.

Throughout High Places vs. Mankind the two further unravel as well as expand their influences and open-up their compact electronic world to include more live instrumentation and more upfront organic vocals.

Everything comes together in a melting pot of rock and pop that is both delightful and intriguing. It has melodies, smart and quirky lyrics, and the band features some unique musicianship that is executed well.

A record of truly original and moving songwriting.

Fall Back Open is a well-constructed modern pop record that displays some neat influences and also contributes a good deal of its own.

Abe Vigoda is not quite up to the level of a band like No Age, but if this EP is any indication, they do have the potential to hone and fine-tune their sound. Reviver would be a great introduction for a potential listener, and fans of post-rock will probably find a lot to like with Abe Vigoda.

Thankfully, Danielson's music is interesting enough to look past some of these lyrical drawbacks.

It is the product of a septuagenarian survivor ceaselessly exploring a self-made world without conceding to compromise; which is sometimes frustrating yet frequently still compelling in execution.

Keep Your Eyes Ahead is certainly a rewarding venture as it contains enough amiable and alluring dream-pop, with ample atmospheric charm, to overlook it's few weaknesses.

On its own, it has some great moments, and it is a very good pop/rock record.

It’s a compliment to Stevens when one notices that listening to the music alone is rewarding and yet, the shots from the documentary are what run vivid in your head.

This is great music from a fantastic UK band.

The problem is, Parton seems hesitant to just go ahead and continue to make the kinds of albums that will attract hardcore folk and roots enthusiasts, instead tempering her material with apparent attempts to hold appeal to a wider audience. So, at best, the final results are a bit mixed.

Nocturama isn't the weakest album in Nick Cave's canon, but it's far from being a particularly good one either.

The group manages to rise above many of their stereotypical, unoriginal contemporaries by featuring plenty of surprises and innovation (although there is still a very recognizable grounding throughout).

For an album that is only 36 minutes in length, Preoccupations manage to cram in a large amount of ideas, inspirations and ambitions.

While Trans-Continental Hustle isn't exactly a disappointment, it isn't the thoroughly solid album it could (and should have) been.

Horses in the Sky has some melodic, attractive moments, though these are drowned by yelps and off-key vocals that grate and stain the whole work.

It is far too lengthy to function as a coherent hip-hop record.

Much like Slint, Mandarin’s sound is often infused with an eerie coldness that seems to melt when the songs begin to grow exponentially in texture.

A record that could easily be mistaken by record geeks as a 60s underground lost-classic... like maybe Quicksilver Messenger Service’s first album.

The band hasn’t yet proven capable of rendering a thoroughly remarkable album. This is nothing to be ashamed of, though.

Lo-fi recording and lackluster production force the songs to rely on the comforting characteristics of the understated indie-twee-folk, of which there are too little to make it real appealing.

Despite earlier successes, European definitively solidifies Sambassadeur as a paragon of Swedish pop: sweet but not sappy, bold yet beautiful, and emotionally eclectic without becoming melodramatic.

This could be a rare Giant Sand LP that manages to be both sophisticated and sprawling. Overall, Tucson is destined to be labelled as a 'must-keep' for those struggling to house their vast Giant Howe collections.

Whilst occasionally the wistful gossamer elegance of Luck Or Magic comes close to being a touch too understated, its sophistication and warmth--much like Britta Phillips’s latter-day career as a whole--is revealed gradually and invitingly with repeated encounters. A fragrantly intoxicating and slow-burning new beginning all told.

Still Living is undoubtedly a clear step in the right direction for this Sacramento trio displaying exponential growth while maintaining their penchant for infectious rock n' roll grooves.

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

Everything is New is a gifted and resounding response to the many nay-sayers out there. It’s not the best Peñate could have done but who else could have expected this kind of departure?

Lali Puna’s Our Inventions mesmerizes with wonderfully layered and intricately constructed electronic sound manipulations that are tastefully crafted into experimental pop songs.

This album is proof that his talent extends far beyond grunge and pop-rock and that he can write and play songs in just about any style.

The commanding Siouxsie continues to be a force to be reckoned with, as she both bears and bares her personal pain on this album, bringing a bittersweet weariness and frank vulnerability to her song lyrics and vocals.

There are nine tracks of somewhat forgettable spacey-psych 70's songs that are packed with confusion from start to finish. It sounds as if the band skipped a few pages, assuming that their immediate debut success would carry over with the risks they took for this one.

Hometowns may not be the amazing album some had hoped for but it is an honest debut on many levels: sometimes great, most of the time decent and a good while just being there.

This isn’t a tired old pro knocking one more out but rather, a superb song-craftsmen and musician in control; Working on a Dream is one of Bruce Springsteen’s best albums, period.

There may be a lack of deliberation or direction in this record, but Big Echo is nothing short of a triumph for The Morning Benders and will be remembered by many as one of 2010’s most ambitious records.

Sally Timms has a profound knack for interpreting a song.

Most of the songs on Power are quite impressive, and a good number are excellent, but there are some songs that were probably better left in the studio.

In the end, I am hesitant to say that this is Vanderslice's best album; however, it is undoubtedly his most rewarding. Just be prepared to spend a lot of time with it.

What Romanian Names lacks in difficulty and depth, it makes up for in restrained creativity and faint tenacity. Though his aim fell short, it goes without saying that even at his moderate average; he’s miles ahead of most of the solo artists attempting to make music.

The Incident is an incident in music that must be acknowledged.

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

It’s an album unlikely to reign in anyone who’s on the fence about adding a folk album to their catalogue, but sure to delight those who like their melancholy sentiments sung by a voice that is as dexterous as it is vulnerable

Ultimately, this is a winner and though it may not offer the new, revelatory sounds and styles that some were hoping, in the end it wins out because of its heart.

Ultimately, this album is about Tyler and we cannot dictate how somebody chooses to express themselves, so the best thing to do is sit back and let him open himself up. warts and all… So yes, I highly recommend the album.

There is a hardy amount of sweet material on Let’s Be Still and it is a perfect accompaniment to a morning sunrise or a low-key soirée in the woods.

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

Where past efforts have been brash and speedy, this one takes its time and delivers messages of love(!) instead of messages of insubordination.

Secret Cities has an awesome album here. Every song is a standout, while keeping an inordinate amount of cohesiveness. Everybody should love it.

Some of Log 22 feels like a step too far, with the band's ambitious arrangements falling foul to the limitations of their musical abilities.

Dando conjures up a combination of The Lemonheads' It's a Shame About Ray, Buffalo Tom's Smitten and Wilco's Summerteeth - fashioning this year's most essential post-rehab record in the process.

While Okemah is clearly driven by Farrar's vision, it suitably develops Son Volt's sound, bringing it clearly into the mid-2000s while giving a nod toward the influences of bygone days that have always been a factor in Son Volt's alt-country tendencies.

Taken for what it is: strong folk leanings, with a sweet country shuffle, delivered with some of the best lyrics of the year, they all make for one brilliant combination.

The numerous instruments, varied influences and genre-hopping arrangements on The Law Of Large Numbers, along with Pollock’s own musical talents, results in some emotive indie-rock whose repeated plays will be justified and rewarded.

It's her cathartic, invigorating voice on the never-miss Jukebox that aids in delivering one of the best albums of 2008--already.

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

Midlake has created an album that can subside on its own. It never reaches sublime territory and who knows, it may not even need it but for a few in tow, there’s nothing rudimentary basic about The Courage of Others.

Akin to AM era Wilco matched with Big Star's #1 Record.

You don’t need to be fanatical or any other synonym to realize that this is utterly spectacular music.

Sumie is not a record for all times, but when the moment strikes, it will deliver--with disarming simplicity--an intoxicating mixture of purity and potency.

Anyone who’s familiar with The American Analog Set knows what to expect and won’t be disappointed by this album.

Whilst again, as with its immediate aforementioned predecessors, there is a nagging feeling across One For The Ghost that Pete Astor could be still digging deeper into his cupboard of less conventional musical arrangements, there remains a good helping of charming and curious songs that invite return visits and slack-cutting forgiveness.