Most of this record isn't the kind of total genius that can be found elsewhere in their canon but it's a fine album that shows what can be done if bands just relaxed a bit.

As Seen Through Windows is both a progression and an evolution from the band's previous work, and it would be criminal to overlook them this time.

The Earth Is Blue is a potent lesson in deceptively simple but exquisitely emotive songwriting, and one that continues to reveal further charms many a listen later.

Casey Dienel and partner Shawn Creeden have created something that has a sense of the familiar yet also a simultaneous feeling of fresh investigation, a record with frequent moments of measured and finely balanced beauty but also a restive application of shifting textures to create a nuanced patchwork of sounds that keep their piquant flavour with repetitive listening.

As an alternative introduction to one of our greatest bands, or a gateway towards getting to know them a little better, it is excellent. If you’re a superfan already, then the novelty of having this particular collection of songs you already own in a nice gatefold package is about as far as it will go.

What makes Native Invader a work of genius--a kind of Great American novel, perhaps--is that it seamlessly blends the personal, political, natural and cosmic into the same story.

The latter, less Smoke Ringy tracks are a worthwhile stepping stone for him, but Kurt just doesn't quite pull them off with that catchy, carefree artistry we all know he's capable of.

Mission of Burma have successfully walked that fine line between being consistent and running out of ideas.

It won’t change the world, but at the very least, Highest Point In Cliff Town offers us a welcome distraction from it for 40 brief minutes.

Through his Tindersticks outlet - now a staggering 18 years young--has created a record that certainly rivals, if not betters any of its three predecessors from the past decade.

Despite the quality of the execution, it's difficult to shake the sense that A+E has been done before.

Harpischord, bombast and multi-tracked vocals create an eerily outdated sound, setting Destroyer of the Void's stall as an overblown oddity.

If iii was a pizza it would be kinda disgusting to look at, it would never really cool down and it would probably give me indigestion, but it would taste absolutely delicious.

As it is, Espers have moved towards new territory, stumbling occasionally, but with a clear eye on where they’ve come from.

This record is one made with the artist’s full investment, every ounce of heart and soul poured into it visible for all to see.

Double albums are necessarily somewhat hit and miss. That's part of their pick'n'mix charm. But M83 mostly miss me here.

Their best yet: it’s multi-faceted like no release before it (from the band’s catalogue), and each and every nuance is super funky.

Die-hard fans of Civilian may be wary but after a few listens, this will sit proudly alongside some of the band's best work.

Ashworth earns sympathy aplenty vocally, but his mechanical compositions occasionally jar awkwardly against his heartfelt outpourings.

It’s a brave step to put down the filters, and embrace organic sounds, and one that is largely successful. However, much like discovering the inspiration of his chosen moniker (apparently he just really likes having a bath), some of the magic is lost in the process.

Art Brut manage to retain a frenetic brilliance.

It remains to be seen if Music Go Music can succeed in a world where platinum selling artists align themselves with paganism and performance art; perhaps they are just too relentlessly chipper. However, it would be a crying shame if people didn’t let Expressions light the dark corners of their heart at least once.

Micachu and the Shapes are fun. Their new album is fun.

The Avalanche is a great record, but one that may have benefited from its creator learning to be a little more detached from his compositions.

As with so many of rock's finer moments, the beauty’s in the overreach, and while newcomers to Krug’s idiosyncratic style may find it easier to warm to the more accessible leanings of the Wolf Parade record, for everyone else, this is essential stuff.

With Images Du Futur, though, the band has stretched into unknown territory while remaining true to its own sound.

Polished production and an ironing out of the music’s creases creates a less-relaxed feel than we’re used to hearing, but there’s also a sense of warmth which was largely missing from the previous Jicks-aided album, "Pig Lib."

You’d need DNA evidence to separate Free Energy from the influences they’re so clearly in thrall of, but it’s all so blusteringly fun and care-free that they make you feel like a curmudgeon for even contemplating giving a shit.