And it does seem that way here[on this album], that Gold Panda has made some kind of discovery that will be looked back on in a few years time as a defining statement to the turning tides of dance music extravagance.

"Unbroken" is her best effort yet. Ignoring the first 4 songs, it's a great album, filled with songs that have meaning.

Take Care is equal parts dick-waving egoism, emotional wreckage, and mature understanding.

A great success on every level; this is their best album since The Earth Is Not a Cold Dead Place.

In some ways the album works better as a slightly blemished and broken piece, because like its protagonist it exits quietly while still leaving so much to say, and it's those pieces of work that weeks later are still being debated over that stand the true test of time.

It all combines to create a very particular aesthetic, perfect for late night drives or dank smoke sessions, and the album doesn't have any higher ambitions than perfectly fitting these particular situations.

The great thing about Red is that Dia had a hand in writing every song, and it's that personal stamp that allows the album to appeal to longtime fans despite its musical direction.

Be it the furious pounding bass of the dubstep angle she toys with, or the amorphous dark ambient she seems to wallow in, whatever led you to Emika's debut LP will also leave you breathless.

A very, very impressive album all around.

What Relentless Reckless Forever boils down to is a pair of decent, if not good, songs at the beginning, several painfully average songs in the middle, and a mish-mash of mediocrity at the end.

Can was light years ahead of their time, and the ideas they present in Tago Mago and sequential albums are still incomprehensible even in today's eclectic and varied music scene.

War Paint may not be an album of 2011 contender, yet it challenges to be the most lyrically impressive.

The Path Of Totality is an album that doesn't work because it tries to be something it's not; no, it fails because of not just its terrible premise but its truly dreadful execution.

Once again, Kate's found a new sound world to operate in and made an effortlessly great album that works both as a conceptually cohesive whole and as a set of standlone songs as warm and comforting as a roaring fire.

Despite its hyperactive tendencies and its scale there hasn't been another record released this year as gorgeous and completely owned by a band as Everything.

Down and dirty, it grooves by on soulful power chords and Carney's relentless hammering of his kit.

They sound like they'll probably end up being one of the most enduring bands of our era.

777 - The Desanctication leaves the band treading water, unable to escape onto dry, firm land... This leaves Blut Aus Nord in a funny situation: they are 2/3 of the way through a trilogy that has no character other than its egg-shell atmosphere – thin and prone to cracking with no solid musical base underneath to resist and hold the shell in place.

Their anti-rave anthems have simply improved beyond what anyone could have possibly hoped for, and Sepalcure is set to turn a lot of heads, in and outside of its constantly argued over genre.

The [line-up] present on Ersatz G.B. were also present for 2008's Imperial Wax Solvent and 2010's Your Future, Our Clutter, records that showed enough touches of class, craft and ingenuity to reassure The Fall's notoriously hardcore following that the future was surprisingly rosy.

Integrity to the fans, the fun tongue-in-cheek of the album and the no-*** rock n roll makes Here and Now a standout record for 2011, and may even win Nickelback some new fans.

The result is a record that's immediately familiar yet inventive, funky, fun, and always impressive.

It is meant to be fun, catchy, sexy, and danceable, and while it isn't groundbreaking by any means, it succeeds in reaching all of its goals.

There are instrumental bridges on this album that seem, blissfully, to go on forever, leading perfectly into the next song.

Where he goes from here remains to be seen, but if this is just a first step in his rebellion against the conventions of the rabble of the garage scene, then his next move might be the game changer this was supposed to be.

It has all the enjoyable little quirks of New Found Glory's earliest material, and most of the songs have the potential to stay lodged in your brain for days.

It's tempting to label it as "primitive", what with that understatedly ominous cover art, but that undersells the album's strange immediacy, the way that these tracks feel absolutely familiar in spite of their grave otherworldliness.

Dive is the kind of high quality release one expects from Hansen.