Though Compass initially seems like the least interesting song on the album, that’s the beauty of the surprises in store.

Think of it as a solid foundation to build something more unique from and it's a triumph; or, better still, don't think at all and let it tickle several sonic taste-buds in a single sitting.

All in all, it’s a refreshingly varied voyage.

While Amok--like The Eraser--is unlikely to arouse the same passions as, for instance, In Rainbows, it’s an often fulfilling and fascinating indulgence.

The four-piece have made a follow up that makes their beginnings busking on the South Bank seem like a myth propagated by publicists. Receiving a nod of approval for their pigeonhole-defying venture really has emboldened them.

Wilson specialises in vintage gear, and Gentle Spirit sounds like the product of such equipment--warm, wistful and golden-hued, coated in creamed harmonies--but also, crucially, alive.

It's still a slice of superior Americana that enhances Richmond Fontaine's standing as one of the genre's premier attractions.

One of Metheny's best releases in recent times.

She's created a sound that's gritty and determined to avoid clichés.

Algiers is a refined, consistent and beautifully textured set of songs.

At its best, album four matches the duo's darkly seductive early material.

It's a beautiful end to a touching, tragic album.

The result is a stylish, intelligent record that does exactly what it set out to do: Girls Names have reinvented their sound and come up smelling of roses.

Harcourt is a singer of uncommon charm, and Lustre is a welcome reminder that when he's on top of his game--which he is for roughly half the record--you'll want for little else.

Heaven is Whenever is good for the exact reasons Hold Steady records always tend to be good. Such dogged consistency suggests it's doubtful Finn and company will ever come out with a startling masterpiece that frees them from Springsteen's shadow, but it also implies they're extremely unlikely to make a bad record.

This is all grandeur without any grace.

Transit Transit is full of the sort of implausible leaps of imagination that normally only happen in your sleep.

Maybe it shouldn't be altogether surprising that Knoxville is brimming over with bravura displays of improvisational nous. Similarly, it would be hard to find a finer study of the suppression of the ego; each musician's signature sound serving to continually complement, but never saturate, the artistry of the others.

Berberian Sound Studio and Broadcast are a perfect match, and this soundtrack--something you may not want to listen to alone if you keep hearing a weird noise outside the window--gives you an idea of how magnificent this band can be.

But heavy as the rhythms are, Mala's deftness of touch means the Cuban contributions are never entirely overwhelmed, and when he pulls more elements into the mix the results are often stunning.

[Martha Wainwright] has realised her best record to date.

It works to the strengths of each, allowing Negro and Barwick their own spaces to shine while sculpting an overall, engrossing ambience around the pair.

One of the most deeply satisfying debut albums of recent times.

This might not be the most forward-thinking LP you'll hear this year. But the emotion and honesty on display are qualities that will never go out of style.

Ash Workman and James Ford keep the production consistently intriguing, and repeated listens reveal fresh nuances and ideas. This is new music worth hearing.

Submit fully to Centipede Hz and it will infect you, quite deliciously, for the foreseeable.

Songs as bold, honest and passionate as these shouldn’t have any trouble fitting in.

True Loves delivers on the fantastic promise of its title-track, comprising a commendable listen for those demanding defined individuality from their chosen songsmiths.