I’d be surprised if the genre can produce anything much better than this.

The bizarre take on folk, pop and anything else she sees fit is enchanting, joyful and thought provoking; it's everything at once.

It’s her grandest and greatest evolution yet.

Nearly everything about Audio Vertigo works, offering one of Elbow’s most consistently great entries in their catalog. It’s the type of album that has an easygoing, buoyant vibe and rewards dedicated, repeated listens.

Welcome to Mali was one of 2008's hidden gems, so do yourself a favor and go check it out now.

While the tracks rarely challenge the listener with bold experimentation or chord progressions that range much beyond major-and-minor resolves, Natalie Prass provides a concise amalgamation of R&B, funk, baroque pop, and soul with a consistent through-line.

Powered by its fluid and seeming invincibility, Mirrored is almost frighteningly cosmic.

It reveals yet another side to this musician, who has continued to pull back layer after layer since she first appeared on the scene.

Few albums are truly perfect though, and Bon Iver is not without its flaw.

It's another rock-solid album from one of rap's most consistently great collectives, with no discernable weak spots to attack.

In Dead Cities, Red Seas & Lost Ghosts, M83 have created an ethereal electronic masterpiece, and one which, thankfully, doesn't sound like a relic from the Warp Records back catalogue.

While Transmitter doesn’t sound like a late ’60s artefact, it still sounds like Clarke—a refresh rather than a revolution, and a perfectly satisfying one at that.

Shade, Harris’ most varied release yet, feels like the broadest and most crisp view of this vista yet, with clear, starlit openings (Unclean Mind), vast ambient gaps (Ode to the Blue), and hazy nebulas (Disordered Minds) coming together to form a stargazer’s dream.

It isn't perfect, its sheer restlessness prevents it from being so, but it will undoubtedly come to be remembered as another masterpiece from possibly the greatest electronic composer to walk the earth.

Packed with a surfeit of nimble guitar lines, they draw their forces together into an expertly crafted portrayal of raw anguish that surpasses any nostalgic commemoration. These mature punks sweat out their energy with vigorous and eloquent playing, and in doing so, also show their younger peers how it's done.

He has come up with a gem of a record, heartfelt and true, that hopefully will get him some of the attention he richly deserves.

Centres has the ability to both mollify and unnerve, and to think that most of it was assembled through sensitive means speaks volumes of Craig’s greater ambitions.

It’s the adequate album to write when you’re on a quest to become something, later to realize that you’ve no idea how to carry on fulfilling that need. It’s a transition that Toledo perfectly captures, one that he’s relieved to have outgrown.

His voice is an art form in itself, breathy and warm and aching with impartial soul. The track’s arrangements are stunning, from the sparse opener Plastic 100°C to the propulsive beat of Blood On Me, while the devastatingly beautiful, reflective piano ballad of (No One Knows Me) Like The Piano would stop the coldest of hearts.

We hear a lot of different sounds, but are never left in any doubt that they flow together with such fire and skill that you feel they could knock out a freeform jazz number and still sound like the same band.

After such a wonderful introduction, however, the rest of the album devolves into a strictly hit or miss affair.

Many of TRU's brightest moments come from welcoming aural pleasures--the arpeggiated transitions suspended amid a patient and corrosive crawl (Spright), the call-and-response punk energy but with a kinder release (Stick). Hartlett emotes with a shrug rather than a shriek, which allows the band members to bring on a fusion of careening song structures that depend on his muted, yet expressive voice.

Tumor hangs everything together with dark and inventive layers of pain that never relent. After Tumor ends things with a glimmer of hope on Ebony Eye, we're enthralled with their journey, eager to see where they will take us next.

There are two primary things that make Once I Was An Eagle take flight: Lyrics and progression, which together make the album intelligent, confident, and, perhaps most importantly, recursive.

The duo balances every big statement with genuinely warmhearted moments. The piano-driven Until I'm With You Again is a good example, which serves as a preamble to the galloping sing-a-long anthem Get Numb to It! Is it precious? Sure is, but does it matter when they have full command of their craft?

It’s all tons of fun, and is almost guaranteed to cheer you up with its overwhelming chirpiness.

There's a clear warmth and passion in this remaster; if you've yet to let this album grow to be a part of your life, get this.

House of Sugar is just as bewildering as Rocket, even if Giannascoli is too much of a tunesmith to keep things too abstract. He's a cunning songwriter who will take on a challenge whenever an idea seems to complex to untangle, even if his tender side will always be there.