Gorilla Manor consists of twelve very intricate and charming songs. The record has a sense of liveliness and reaches out to human abilities, emotions and reactions.

While it’s still the arrangements that will continue to impress, the words and overall sonic ability speaks paramount to what Yeasayer is capable of.

The best treat in any kind of music following is when a band who’s been dabbling in greatness for a while finally comes to the plate and smashes a home run over the fences.

I’m New Here is an outstanding album and one of beauty and substance and for the first time in fifteen years, Scott-Heron is back.

I think it’s safe to say that Weber is putting his strengths into fine use and, with Black Noise, it’s utterly fantastic.

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.

There might be a few lost moments where the music stagnates from a lack of true skill where neither member of the pair does much but they come in sparring moments. And for the most part, the songs are too direct to even truly analyze them as anything more than lifting, carefree music.

For all that is revealed about Charlotte’s experiences via the songs on this album, there is always the knowledge that Beck is the songwriter, which raises the questions of how close Charlotte is to the lyrics, and if Beck has transcribed what Charlotte described to him with minimal interference, or if his own views and ideas have shaped the finished work and altered Charlotte’s original intent.

They’ve always been able to create music to pair with this feeling of nostalgia but Beach House has somewhat, in a way, perfected their dream pop with Teen Dream, an album that flows like the beach and cascades with lush melodies, harmonies and fantastic gentleness.

There Is Love in You comes off largely as an effortless work, content to just gently glow in its own hazy bliss.

Although this record reeks of Matador Records looking to score capital off Fucked Up, it’s not a bad way to go. Couple Tracks would be great for someone who wants the Fucked Up experience.

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

It's always great to see a band showcase all of their strengths but when you can take everyone by surprise it's going to require just that much more skill.

Boca Negra is certainly not the easiest entry-route into the post-jazz catacombs of the Chicago Underground, but its steely determination and non-conformity is nevertheless refreshing and worthy of respect.

Astro Coast succeeds admirably because it pulses with a fun, youthful, and invigorating feel, and obvious lack of arty pretenses, studio mediation, or self-importance. Not every band can be Radiohead, thankfully.

It's as though they've found the link between tightly driven post punk and loose garage rock. Songs such as "Trouble," "Mystery Zone," and last year's single "Got Nuffin" bridge the gap between Nuggets and the Stiff Records label. This is certainly what indie rock has been based on for the past 30 years and so far only Spoon has done it with any success. As though to balance out the rock or to satisfy their interest in each end of the song writing spectrum, Transference also satisfies.

They have evolved their sound in this release with a host of much stronger tracks than ever before. While the immaturity remains in these tracks, the instrumentals are much more polished and infectious.

Vampire Weekend's penchant for throwing an occasional obscure reference into their work doesn't change the fact that Contra is an obvious early contender for one of 2010's best.

Them Crooked Vultures is a wonderful introduction to this all-star band.

A shock in the uttermost worst way because Wale has suffered from the over-production, guest-crammed, lack-of-ideas style that usually follows with a major label release.

Xenophanes might be the most concise statement Rodriguez Lopez has ever made (11 tracks in 45 minutes), and its tidiness is evident from the (mostly) taut song structures, urgent pacing, shortened solos, and singable melodies.

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.

Bleach showed instances of promise and a few songs went on to become some of the best they ever wrote, but in comparison, it pales to the band’s later work. So take it all in stride because Bleach is surely for fanatics but certainly not for everyone.

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.

Craftiness, when it’s this imaginative, can go a long way and for Jookabox, these bizarre ideas seem to work even when they shouldn’t.

All in all, You Are the One I Pick is a compelling and enjoyable listen which, at 35 minutes in length, is smart not to overstay its welcome.

Music like this is a reward just waiting to happen and if you give it a fair shot, it will surely win you over.