Everything on Heavy Ghost is a work of pure genius; this is the music of your life and it’s the kind that needs to be rewarded in any possible way because truthfully, honestly, sincerely, it’s something endearingly special.

An Imaginary Country suffers nothing for these decisions [to ease back on the heavier, noisier aspects of his work] and in fact nearly stands as a perfect counterpoint to the acidic blasts of white noise on "Harmony in Ultraviolet."

Some patience and repeated plays will be needed to digest the concise, offbeat and scratchy melodies from this eccentric, bedroom electronic artist.

It’s really hard to find anything wrong with the way Case has presented everything and it’s evident that she is only beginning to reign in all of her strengths. It’s an exceptional trait when you’ve been able to combine so many tremendous aspects into one supreme collection of songs.

What I am here to do is to point you in the direction of Take My Breath Away, Boratto’s exceptionally crafted new album.

The songs themselves feel loose, a bit non-cohesive, making How to Get to Heaven... a good, though not great, album.

Black Lips are able to both faithfully emulate some annoyingly nearly-recognisable sixties and seventies styles while using the one-take demo approach to give their own 3 chord song structures an air of immediacy that prevents the album from sliding too quickly into the pit marked “slavish recreation.”

What strikes me is that past Clem Snide albums had their stronger moments, but also their weaker ones, while Hungry Bird, for all its time in development, is more solid throughout, delivering its 10 pop songs with a consistency that shows the band continuing to develop its sound.

These are two distinctively different sounding EPs but they are successfully united by Condon’s never-failing trademarks: wonderful vocal lines, linear melodic patterns and that soothing voice.

Ultimately, Hold Time could have undoubtedly benefitted from some more stringent self-editing, not-so top-heavy sequencing and greater deliberations over the guest list, to make it stand-up as tall as its more meticulously-framed predecessors. Nevertheless, this is still another reliably robust M Ward record with much to recommend itself, especially to the previously-converted.

It’s with his newest album, Years of Refusal, that Morrissey has delivered one of his finest albums to date.

This album will be divisive amongst fans as there will be those who just want them to get back to the days of "Full Collapse" and those who have always heard the sounds of Common Existence beneath the surface over everything before it. For those fans, you will be glad Thursday has finally let all of its aggression out to release an engrossing and explosive album.

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.

Animals in the Dark is a natural progression from Whitmore’s previous stripped-down affairs.

The truth is, practically everything on Dark Was the Night is exceptionally well done. Even when they aren’t covering but contributing original recordings, everyone brings their A-game.

It’s simply constructed, confidently attempted and ultimately, radiantly accomplished. And much like that couple [on the album back cover], the album’s missteps are present but there is enough good to prove this is a solid effort.

Not only is Keep it Hid a very good album but it’s an album that contrary to popular belief, should not be ignored.

Cooper made it long enough to record one last, amazingly decorated and meticulously crafted album, Immolate Yourself, with his other half, Joshua Eustis. And with this album, not only did the tandem create something special but it just may end up being the best album of their entire career.

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

While it’s very good hard rock and there are the little differences, the overall sound of the album is largely the same.

What Franz Ferdinand have proven is that not only do they make impressive albums but that they are capable of trying out new sounds with great skill. It’s still the same band we fell in love with, only they have incorporated more sounds into their arsenal and with songs as good as these, it’s a welcome addition.

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.

What’s more important is that Merriweather Post Pavilion is not just one of the finest things you’re going to hear in 2009 but that it should sit well next to albums like Kid A on lists of the best music made in our time.

The Crying Light may not be as directly moving or as astounding as its predecessor, it’s a fine album on its own.

Get Guilty is unlikely to bust Carl Newman out beyond his inherited fan-base but neither is it likely to disappoint those listening out for more-of-the-same, albeit with obvious but not crippling disadvantages.

Bird is in full control and evokes his The Swimming Hour and everyone’s favorite, Mysterious Production of Eggs, days; those days where he did everything on his own. All of the aforementioned allows him to present one of his best albums to date.

Skin of Evil, out on Soft Abuse Jan. 20, is a breathtaking, mesmerizing record, a lyrical song cycle about love and loss, affection and anger and alienation.

Major General finds us with an accomplished and very steady collection of songs.