It strikes the prefect balance: accessible, yet with enough idiosyncrasy to make it more than just a formulaic retread of past glories.

Put simply, CollectiV is a masterclass in supremely executed rock and roll.

Thou’s consistency makes their records somewhat overwhelming. Magus’ arrival via Sacred Bones makes it likely to become many listeners’ first Thou album. Whether it is suitable for such a position, given the more concise appeal of the band’s first three full-lengths, is questionable. Nonetheless, much like the question of whether this is the band’s finest work to date, such doubts should not distract from the fact that Magus is a successful affirmation of Thou’s place as being amongst the greatest heavy bands on the planet.

Their fifth album continues the work done on their last, 2011’s Hello Sadness, the emotional context and sentiments much sharper, painfully so in some cases, with big, lovely pop hooks on even their starkest tracks.

Shorn of Brownstein's intricate guitar playing, Weiss' wonderfully impatient drums and her USP: The Tool, The Voice, Tucker is operating at brave distance from her comfort zone. In doing so she's unveiled a whole lot of other things she's good at.

The Unthanks have never been gentle background music as some might expect, as they’re always drawn to the darker stories that they can dig up. On Mount The Air, those stories are matched by some sumptuous, confident music, and they sound all the better for it.

Erland and the Carnival make good at being a group who successfully accent their modern indie rock with olde world aspects of folk in a much more effective manner than so many acoustic troubadours.

The quiet simplicity of these songs is better suited to Fink’s lone voice, clear without a jumble of voices and complex harmonies, strengthening the continuity of the storytelling.

In the broader context of British alternative music, it cements Frightened Rabbit at the creative peak of the folk-crossover scene.

With Two Thousand and Ten Injuries Love Is All have created another master class in yearning, defiant, confused and lovelorn indie-pop, the sort of record you wish you had by your side when you were stuck re-heating cheeseburger puffs* for minimum wage in one of Essex’s premier petrol station.

Throughout the album DM Stith acts a man far off into the galaxy, oscillating between space and sound, and without much vocalizing, extends a gracious hand to the listener as well.

On one end, it sounds like a straightforward film score. In another instance, it's perfect headphone music for self-study or personal contemplation.

With a soundtrack that captures the spirit of the comics with such fervency, conviction and discipline, Scott Pilgrim vs The World looks set to be a lot less dislikable than you might've hoped.

Dr. Dog are a band you know you're going to appreciate as soon as you reach the first chorus. You'll want to go back and explore their back catalogue, and force them on unappreciative friends.

Latin doesn't have a weak moment, and while LP's higher energy levels may indeed play better with that lucrative Top Shop demographic, it would seem remarkable if any right thinking fan of the band didn't think Latin at least its equal.

Ultimately the Swede’s absorption into his own mind gives him the throat of a man who sounds in control. This control is one of the things that make Kortedala Lekman’s most assured, comfortable record yet.

Like Arab Strap with bellbottoms and flower necklaces in place of the drum machine, Shapiro and Green are a match made in heaven who explore every corner of romantic hell.

Rainwater Cassette Exchange confirms--Deerhunter may never make a loud or abrasive album again, but they have other, deeper fires, burning away fierce as ever.

An incredibly warm and organic sounding debut.

It’s the boorishness of their football hooligan fanbase, the bravado that they failed to deliver on in their later years and the all-consuming nature of the brothers’ public personas that you really need to put to one side when you listen to records like this one; if you can manage that, and overlook the cynical nature of this release, then you’re left with three discs that contain a generous selection of some of the finest rock songs that a British band ever produced.

Ardor bides its time and it was made by a band brave enough to create music and a track listing that allows this spectacle of a record to satisfying inch towards a riveting pitch. It’s an album that evokes the ear blistering noise of Sunn O))) but it’s also emotionally charged music.

The Soft Moon's mission to transcend all levels of tolerance and pleasure via the conduit of sound is well and truly accomplished.

Whilst Hanne's music has evolved since her debut Little Things in 2004, Featherbrain is an album that pulls various strands of that development together to make something new.

The great thing about rkives, though, is that as much as it constitutes an absolute boon for long-time fans, it works as a fine introduction to the band on its own merit.

The rock these four men so easily brandish is every bit the equal, if not the better, of that deployed by so-called peers half their age.

Warrior is never dull, always fun, and frequently a thrillingly unpredictable ride.

The album traverses a rich genre spectrum and incorporates contrasting moods and atmospheres that make for an exciting listen.

Present Tense might lack the immediacy of both Smother and Two Dancers, but scratch away at the surface and its a record oozing with the precision and maturity we've come to expect from its creators. And in all honesty, it would be churlish to ask for anything more.