An intense fifty minute ride through the minds of one of the best new bands to emerge in recent memory.

Someday the Smithsonian will file this sprawling musical celebration into their collection between Van Dyke Parks’ Discover America and Norman Rockwell’s Saturday Evening Post covers -- joyous, generous Americana filtered through a singular sensibility.

It’s particularly satisfying to hear confident music like this, played with the fiery purpose of those who pioneered it over the last two decades.

Neon Bible is so successful because it showcases big ambition without ignoring the small things.

End Times Undone is another exceptional album from an artist who doesn’t seem to make any other kind.

Contradiction proves mesmerizing across Space Heavy’s tightly executed 45 minutes.

What’s surprising about ONoffON is how different it sounds from those previous two records, and yet how well it follows their lead.

Fortunately, the huge elemental diversity on G&G is more spread out than on previous efforts, leaving breathing room and allowing each well-crafted sound to sink in.

It’s dark and brooding, fiercely sparse at times and blindingly dense at others. Footwork is no longer an appropriate descriptor for this music. With Black Origami, Jlin has transcended her roots to build a language all of her own. And simply put, it’s brilliant.

Mind Hive is concise yet full of restless intelligence, musical ideas and willingness to push boundaries. Taut, tense, not a wasted note, moments of great beauty, 35 minutes of Wire contains enough to fuel a multitude of pretenders.

Game Theory turns out to be The Roots’ finest record to date.

Fans will consider the show essential for its historical significance and the quality of the setlist, but the album’s energy pushes it beyond a completist live album, making Live in Brooklyn 2011 a wonderful cap to one of experimental rock’s greatest discographies.

[A] seemingly out-of-nowhere collection of quiet masterpieces.

Its 42 minutes are comparatively modest, sure, but there’s no question that the man behind the boards here has his finger on the pulse of what may be missing most in electronic music right now--a central reference point. In Colour is that star, the record to hold everyone else’s narratives together.

Golden Era, the smartest, funniest, most urgent hip hop joint of '11 by far.

The result is an album that can stand easily with Slowdive’s other heights and that manages the extremely tricky feat of sounding like the band that fans love and missed while at the same time marking a new step forward. The

For the first time in his career he has made an album that is clearly not a product of “Beck”, the single-syllabled entertainer, but rather that of “Beck Hansen”, the person.

It’s heavy in concept but sprightly and reverential in its execution, its hallucinatory breadth reminiscent of the outre jazz of Sun Ra and the wily funk of Parliament, of mid-’70s Miles Davis and Herbie Hancock.

Henki is an extremely entertaining tightrope walk between restraint and free rein, its well-earned moments of excess and exuberance genuinely joyful. It’s a ridiculous and brilliant record and makes an extravagant last-minute bid to sit among the best albums of the year.

The applause will only grow louder with the release of The Bright Mississippi. It’s quite simply one of the best albums we’ll hear in 2009.

Last Exit is a truly excellent album, one of the best of 2004 so far. But what is truly exciting is the promise Last Exit holds for the future – for that of the Junior Boys themselves and the countless others it is sure to inspire.

It's one of the best live albums released by a modern "mainstream" act that I can think of. No exaggeration.

Some of the best songs that the Louvin Brothers ever wrote.

God Bless Your Black Heart is one of the best noise rock records in recent memory – and not in the sense that it’s bafflingly original, but in that the Paper Chase are amazingly good at what they do.

The performances are some of the most articulate and explosive in the band’s enviable catalogue, while also making room for moments of exquisite tenderness. ... The album in Deerhoof’s discography that Miracle-Level is closest to in feel is probably 2008’s Offend Maggie, where the band effectively balances ferocity with sweetness, dissonance with anthemic melody. At this stage in their career it feels miraculous that Deerhoof keep on releasing music that’s quite this vital and inventive.

Packaging quibbles aside, this is a great set.

On Your Own Love Again is something else again, at least a personal landmark and maybe a classic. Simple, straightforward, but more than it seems, this is one of the best albums of 2015 so far and marks the emergence of a very distinctive songwriting talent.

It’s an old trick: happy music, sad words. But Quasi has elevated the strategy to an art form, and it’s nearly impossible to resist the sugar rush of the band’s sound in collision with Coomes’ black musings.