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.

There are so many female singer songwriters making their presences known but Emmy The Great has a niche entirely of her own today, and that is all down to her songwriting and an elusive personality that avoids overlaying her actual charm.

Time to Die reveals a band that is continuing to grow with scintillating results. Luckily for us, no one’s sitting in the backseat here.

Music that's at once beautiful, joyful, and pure aural pleasure.

With all of that said and there was plenty said this album is not only highly recommended I would have to say for me at least it is one of the better efforts of 2011 and will more than likely end up on an end of the year round up.

Rather than break new ground, Rademaker, Losielle, and friends have chosen to have some fun making a record that would have sounded fantastic 20 years ago. While maybe not quite fantastic today, somehow it manages to sound fresh enough in 2004 that you’ll be glad you gave it a chance.

Despite the experiments with the various flavors of hip-hop and glitch techno, Spacesettings is a solid album from some of the more exciting artists in the IDM scene.

The highs here, while admittedly not quite as majestic or sugary as in the past, are still pretty far up there, and better yet, there are no lows.

Overall, this is sophisticated pop with a folky twist crowned by a heaven-sent voice.

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 Sight Below has crafted a magnificent album and EP to help weather the darker nights and snowy days.

Ejstes crafts songs where throwback psych-pop melts effortlessly into cascading soundscapes, jazz interludes, and epic instrumentation.

If you’re only looking for a handful of records this year drawing-up from the seemingly bottomless Krautrock well, then make sure that this is one of them.

Let the bloggers cry about the change all they want but None Shall Pass is the most focused and dare I say accessible album of Aesop’s career

Surely the power of Spoon’s miraculous songwriting skills are enough to keep the listener captivated, but the fact remains that the only surprise the album contains is the apparent lack of innovation.

With Fade, they’ve come across ten songs that all sound tight and of course, refreshing, against the backdrop of what might be their most consistent album to date.

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

Sitting down and listening to a full length album all the way through without outside interference is nearly impossible, let alone desirable. However, the solitary atmosphere and minimal elements of Admiral Fell Promises make it designed for just such a commitment.

Give Up is an outstanding, creative effort from two of indie rock's most disparate voices.

Stellar production yields rich sounds assailed with raw emotions. These tracks are fully developed. No doubt, the vocals may grate on critics, but there are a lot of reasons to like this split. Especially Envy. Enjoy.

There's a strong sense of pop hooks all over and with a rock vibe that is both heavily-induced and rendered, Segall and Presley have delivered a terrific debut.

Each song sounds like a distinct ray of light and although it’s packed into something both concise and brief, it’s the strength of each song that makes the whole album stand out.

Mostly though, this ethereal mix of multi-layered and textured dream-pop is frothing with jangly and heavily reverbed guitars, amid shoegazing drones and electro-style beats, that displays Atlas Sound’s sense of adventure and pop experimentation while providing the listener with countless entertaining spins.

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.

Never before has Bianchi put so much focus on the lyrics and been so open, so vulnerable.

It sounds like the Ramones covering OK Computer. It's also one of the best debuts of the year.

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

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