You will not be able to tear yourself away from this album. This is no daringly outrageous, Kid A-esque “progressive” music that nobody really enjoys listening to. This is rock 'n roll.

Wilco (The Album) is just another wonderful and special reason to know that Wilco, as a band, are an astounding band for all to love-or at least as much as they say they love us.

One or two of the tracks sound a bit forced in their arrangements, and I can only too easliy envisage a studio listing in which individual songs are prefixed by descriptions : (the Polka number, the Dylan number, the BRMC number, the one Tom Waits wrote, etc.) but this doesn't detract from the album, if anything it only enhances it as, with a significant part of the albums production process actually audible, and with the musicianship never less than wholly professional, it's difficult to find actual flaws in the project.

It might take a couple of rotations, but upon spinning Let Us Never Speak of it Again, be prepared to suffer from involuntary dance fits from surfeits of jollity. Asinine lyrics be damned, I’m dancing here.

Allowing their music to be filled with the goodness they inevitably churn out, My Morning Jacket has embraced the electrical currents that connect their music.

Simply put, it's a decent album. There are a handful of great tracks and handful of tankers. The rest is just kind of there.

The results are pretty rewarding overall, even if the strictly unadorned arrangements might have occasionally benefitted from some counterbalancing extra instrumental layers.

The way Satin Panthers comes at you is definitely much more abbreviated and more focused; whether or not this is due only to the shortness of the EP is quickly dispelled with how well the five songs do ebb and flow.

Somehow all of this organized chaos is put together with clever hooks, resulting in some quite unique and energetic pop/rock tunes.

In the end, all of this makes Say Anything the most mature – as well as the catchiest--record in Say Anything’s already impressive oeuvre.

It won't blow you away the first time, but it eventually will.

Ultimately, Precollection probably isn’t the kind of release to greatly expand its influence over the throngs of the unconverted, but it should be more than a welcome advance for those already convinced of Heasley’s obviously remarkable gifts.

This is one mighty album, one that will tower over others like the green shrubs that tower over the buildings on the cover.

Whilst some hooks aren’t quite high enough in the mix and the gauziness is almost as thickly-spread as on its immediate predecessor, De Facto pushes Lorelle Meets The Obsolete’s world into subtly groovier and wider-screen realms with admirable ambition. It captures a band reaching out whilst remaining true to its belief systems, with very convincing results.

Whilst the front-end and middle of the collection may take some repeat spins to fully earn affection, the two six minute epics that conclude proceedings are unquestionable gems from the first airing.

With absolutely perfect production, the end result is one that’s embracing, textured, warm, and still fun.

For everyone who thought the conceptual excesses of the previous releases went a bit too far or simply didn’t have the patience to tie together all the musical loose ends, this may be the Of Montreal album they’ve been waiting for.

Weaving together themes like mortality, the universality of mankind, and the cyclical eternality of life and not having it all come out as a pretentious mess of self-important prognosticating and vaguely simplistic truisms places Elvrum in the rarified air that few outside of Brian Wilson have ever attempted to reach.

Sarah retains her unshakable poise and British vocal inflection, but her delivery is warmer and more engaging than on her debut, yet still tinged with an edge of melancholy.

It'd be a daunting feat for anyone to furnish a respectable sophomore LP after the hype of a debut like Psychic Chasms, but Alan Palomo succeeds here, blessed with an innate ability to temper previous charms with present provocations.

It’s certainly going to be one of the most, if not the most, fresh sounding electronic albums of the year and it’s only going to get better as time passes.

Unless you demand pure, cutting-edge originality out of your pop music, this is a solid debut effort.

With producer Thavius Beck’s fast-paced beats and the MC’s lively rapping, the two have concocted a worthy listen.

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

Though Suspended Animation boasts 30 tracks, it only runs some 40-odd minutes, and those are some of the most densely packed and bombastic minutes you’re likely to find on a record this year.

It's apparent that great care was taken in the making of this record as the meticulous production radiates through the music on every song.

Strangelet may not be Grant-Lee Phillips’ most stirring collection of songs, but it’s certainly no catastrophe.

Although a couple of things don’t quite go the distance--namely the slightly meandering “See High The Hemlock Grows” and the murky slogging “Slow Down”--Quiet And Peace holds together remarkably well for a late-career collection.