Also, I was under the false impression before they began that it was going to be a Queen cover band, so I was super disappointed with that.

Still, it would be dishonest to deny that the mystery of Plux Quba adds to its appeal. The fact is I’m particularly curious about Nuno Canavarro because this record seems so personal; I listen and feel like I know him. Plux Quba is a disjointed, unpredictable work that sounds like the aural representation one sensitive and intelligent individual’s subconscious thoughts. Like a mind, Plux Quba veers from one fragment to the next, leapfrogs over an idea and lands on another, recalls a forgotten memory for an instant only to have it vanish before it can be examined in detail.

…the notion of indie exceptionalism (and its white, urban, and upper-class trappings) was repeatedly questioned this year, almost always by the very people who benefit from it. Indie-ness in 2012's pop culture has been depicted as an outmoded cliché, an indulgence for the rich and deluded, a jokey lyrical reference, a house of cards, and/or a pile of cool clothes for pop stars and corporations to try on and discard.

This piecemeal patchwork of tracks hangs together amazingly well as a front-to-back album.

A dozen years after its release, Fevers & Mirrors, Bright Eyes' defining LP, is reissued by Saddle Creek, along with 2002's There Is No Beginning to the Story EP.

It's almost impossible to approach MDNA without some degree of cynicism, but it's equally difficult to imagine anyone being more cynical about this music than Madonna herself. Unlike previous late-period records in which she had the luxury to indulge in creative tangents and not get too hung up on scoring several hits, MDNA is a record that comes with major commercial expectations. The "this has to work" factor is high, and it's hard to shake the impression that she has some measure of contempt for the contemporary pop audience.

It didn’t have to be this bad. She didn’t even need to dig that deep on the iTunes “Electronic” page to find a producer to craft intriguing electro. Instead of Solveig, she could have emailed SBTRKT. Or Anthonly Gonzalez. Or Scuba. Anyone else. She’s clearly learning about dance music from television ads, not nights out.

There is a tendency among music critics to create sub-stories with records and impose narratives. We might identify with a hardcore punk group this year because we are a restless generation, or with a work of hyperactive pop because the internet has made us incapable of concentrating, and so on. But sometimes we take a record for what it is: a resistant piece of art, existing as a singular entity. In a world that is newly full of "content" at every turn, it can be refreshing to find an uncompromising record that exists so honestly on its own.

That’s the realm that Mercer is working in now, and when he has the confidence on Morrow to follow through on his glossy pop ambitions, his music manages to be as likeable as it always has been. It’s when Mercer tries to update the old Shins playbook with big-budget production that Morrow sounds awkward and dangerously sleepy.

‘Like so many spotlit debuts, Visions displays a young singer developing a relationship with her own voice and the seemingly infinite possibilities for shaping and representing it. The mirror stage for emergent artists who spend a lot of time online and work alone with inexpensive tools often can (and does) lead to merely replicating the surface qualities of the stuff that streams their way. Boucher's talent lies in the balance of exploiting her gifts and leveraging what's come before her, but judiciously.’

‘In terms of its America-sized grandeur and its fixation with the emptiness of dreams, Born to Die attempts to serve as Del Rey's own beautiful, dark, twisted fantasy, but there's no spark and nothing at stake.’

Twenty seconds of a song as the perfect college girlfriend.