God bless Tunng for making what is otherwise one of the more obnoxious genres of music (Folktronica) so damned delectable.

No surprise, this first solo record from arch-seraph Jon Thor Birgisson brims with moments of aural salvation.

Angus and Julia are, simply, talented musicians—specifically, talented musicians who work exceptionally well together. Nothing has changed there, but what has is a new expansion of their straightforward sound.

Although the super group’s vocals blend well across genres, too much sweetness, as in opener “How are you Doing,” seems saccharine.

On Coconut, the group softens the sharp edges and buffers the beats; the end result is like going from high contrast black-and-white to eye-popping Technicolor.

Volume Two sees the return of She & Him and with fantastic results. Any shyness surrounding Deschanel’s songwriting on the first record has melted away, and here she is unabashed, graceful and poignant. Ward has followed suit, fleshing out the production canvas right along with Deschanel's ever-growing gusto.

On its third album, the group doesn’t so much tone this down as weave these elements into a more elaborate and adventurous record.

The Bird and the Bee don't so much recreate Hall & Oates as they modernize them, taking the strictly adhered-to hooks and coating them in shimmering synth lines.

S-M 2: Abyss in B Minor is as boundless as Rachmaninof and as ethereal as Chopin. [Winter 2010, p.103]

The Big To-Do's melodies may be workman-like at times, but flair was always for the flame-outs. [Winter 2010, p.96]

The album does have spots that border on being too polished, so these Southern gents would do well to remember that everything is better with a little bit of dirt on it. [Winter 2010, p.100]

Although the lyrics are slightly repetitive, the hypnotic rhythms more than make up for it, transporting the listener to a world void of the 9-to-5 mundane.

Sisterworld is a slight and perhaps necessary comedown for Liars after the polar extremes of previous releases.

What Broken Bells lacks in risk it makes up in tenderness. Aww.

Like its predeccessor, though, this set is a compelling document of brilliant truths and lies and dramatic threats and regrets. [Winter 2010, p.100]

While Tomorrow, In A year is a work of staggering scope, it is, to be honest, extrememly difficult and by some standards, unlistenable "music." [Winter 2010, p.96]

The Monitor finds the New Jersey band swimming ina similar cesspool of whiskey and shit, with nothing but a proud hangover--and one hell of a record--to show for it. [Winter 2010, p.98]

With the promise of 12 fully-completed, untainted studio recordings that have otherwise gone unheard by the public (and even the most inventive of bootleggers), I arrives with considerable significance to all things guitar-worthy.

It’s no leap forward, but surely no step backward either.

It’s a nice cross-section of material that highlights why Pavement was such a darling of the alt press, but Quarantine fails to truly capture the greatness.

With Rat A Tat Tat, there's plenty of unforgettable melodies to make this his strongest and most accessible work to date. [Winter 2010, p.96]

The Morning Benders have grown from playing taut three-minute melodies to sophisticated chamber pop with a focus on ambiance and layered harmonies.

This is merely alright, but it will surely need to burn slower to penetrate the heart.

A shimmering collection of sonic treats that delights even the slightest of spectators, England-import Little Boots has exhibited her augur ability through song with a wonderous debut LP. [Winter 2010, p.103]

Although the Oakland, California-based outfit bookends the record with lo-fi charm--the free-spirited “Solitary Gun” and stripped-bare “All That Remains”--Permalight also uncharacteristically departs into euphoric yet contrived electro-pop.

Over the course of the 38-minute album, these nouvelle cuisine portions amost add up to a satiating whole. But it's good enough you'll be hungry for more. [Winter 2010, p.94]

From the album's opening electro-tribal groove to Tunger Hnifer's distorted bass and scratching vocals, the instrumentation throughout Who Killed Sgt. Pepeer? is both massive and of the varied type. [Winter 2010, p.98]

Comprised of tracks recorded with Rick Rubin right up until Cash's death in late 2003, American VI is a fitting send-off for the Man in Black.