It may not be one for the impatient listener--Centralia can drone a little in places, and almost touches on music reminiscent of that you'd relax to while having a deep tissue massage. But take the time to listen properly and you'll realise it's beautifully crafted.

Anything In Return is an album applicable to plenty of palettes.

The music is complex, but not in a Phillip Glass orchestral kind of way.

It may lack slightly in ambition but in terms of fulfilling Plantman's ideology to make gimmick free, classically-tinged emotive songs it does just fine.

True North, with its concise (only one song breaks the three minute barrier) bursts of dissatisfaction and alienation, includes some of the strongest, most focused material that the band have recorded in many years.

At times it's so polite and elegant it almost passes you by, yet on every song you're soon gently overpowered by the sheer heart and homespun wisdom of the lyrics.

Its clarity, confidence, and cohesion set it apart from their debut which had room for improvement on those fronts.

Arc sees a stripped-back, 'more accessible' band.

Broadcast's soundtrack for Berberian Sound Studio is a triumph not just because it is inescapably aware of itself as a soundtrack but also serves as a fitting epitaph for the band's singularity and vision throughout their all-too-brief career.

Pere Ubu's first studio recording in three years is a suitably abstruse, challenging and dense record, and yet another example of how Pere Ubu remain at the very peak of experimental avant rock.

Regardless of how wonderful, awful or daunting it sounds in principle, Laibach command that you listen to it regardless.

It's a unique record in the wider sense, but maybe less so within the band's own back catalogue--if you've yet to be snake-charmed by the occasionally venomous but oh-so-shiny Black Moth Super Rainbow, this is certainly a good place to start.

This is a gorgeous album of soundscapes that are able to stand up alone.

As stirring as some of the material is, there are a number of tracks where the weighty lyrical themes are coupled with languid and ponderous melodies which drag the pace right down to a deathly crawl.

An album of stirring highs and deeply intimate confessions takes the traditional live album to a new level.

Joshua James' second release of 2012 is a thoughtful and pleasantly warm collection of songs that are steeped in the sound of Americana.

The free jazz of the title track grates and some of the record falls a little bit into the background and seems almost too polite at times but Mars is a sophisticated and beguiling album full of wonder.

Umberto has created something which, despite being by its very nature incidental, is incredibly enveloping.

John Cale's latest is a visceral, thrilling ride, capable of soundtracking any seedy disco on the outskirts of Nookie Wood.

Kin is a hypnotic album on its own merit and needs no elaborate campaign to stand out.

The result is a set of nine songs, each one brimming with musical interest and experimentation.

There are a number of genuinely interesting pieces here that make this a very worthwhile addition to Bjork's discography.

Mason's voice is lazier and more monotone than it ever was on the debut (a good thing) but the infectious nuances and off-beat concepts in the music are still not quite at their 2005 levels.

sity. Dayve Hawke has created a record that's as graceful (sorry) as it is mighty.

Given time and patience, it will eventually unravel into a truly gripping that, although disturbing, is worth every minute of your time.

The result is a tight, neat little package of postcard pop, as radio-friendly as ever, embossed with Field Music's auteur sound.

It's an immersive album, without ever fading away from your immediate attention

Though different in style and construction, they all succeed in doing in giving you the chills, in a whole new way.