For now, let’s revel in the fact there’s a record that swings from sumptuous sprawls to ear-sizzling riffs.

Still is Thompson through and through.

In the classic sense this is yet another worthy piece from an undeniable master.

If Luminiferous has a flaw then it is its length.... On the whole, however, this is a difficult album to throw too many critiques at.

This is wonderful stuff.

It's an album heaving with ideas, but just coherent enough to stick together as one piece of work.

Son Lux veers away from the straight forward and chooses to make records as wonderfully complex as Bones.

The record is certainly the best distillation to date of a band whose careening fun places equal value on Radiohead at their most brow-furrowed and novelty chart hits without any trace of preening post-irony.

It doesn’t quite retain the piss and vinegar, lightning-in-a-bottle feel of its predecessor. But then of course it doesn’t: that album was turned out in a matter of days by much younger musicians, while this release spanned years and several recording sessions and it’s still absolutely exhilarating.

The slower songs can certainly be felt to add a rounded edge to what would otherwise be an unrelentingly pointy poptastic delivery.

This is not an easy album to listen to and digest. It is all the better for it.

Although Success is a very solid album, from a band that have already proved themselves consistently capable of churning out suitably bad-tempered and obtrusively loud material, it’s hard to feel it’s anything we haven’t heard before, which makes it far more underwhelming than its generally high quality content suggests it should be.

At its best Home Economics tries to find some kind of ascension from this harshness of life. At other moments what is being said, what is got at is lost, and easily passed by unnoticed.

It’s Gengahr's commitment to weirdness on A Dream Outside that puts them many streets ahead.

While moments of greatness emerge, there's a unfortunate limpness to proceedings that undermines otherwise outstanding songwriting.

Even as these pieces are tightly composed, improvisation, solos, a loss of control, are never far away. This can only be a good thing.

A little more clarity wouldn't have gone amiss here and there, but there's enough on offer to bring curious listeners back for repeated spins, which is just as well, as More Faithful is definitely a grower.

This is a remarkable, compelling record that hits the heights of the heavenly poetical but also dredges the deep dark of cruelty and meanness that flashes through us all at times (though through Kozelek more than most it would seem).

Accomplished yet instantly forgettable--a most fitting curtain call for such a confused endeavour.

The best love songs are the ones that make you want to dance and cry all at once; and Bad Love has them in spades.

While the instrumentals service Barnes well, when guest vocalists--once a hallmark of Leftfield’s work (John Lydon’s vocals on ‘Open Up’ still feel perfect)--the album broaches less solid ground.

Even if they wrap themselves in prettier packaging, they’re as sharp as ever.

You have to turn Girl up loud to hear the 'meshes of voice' that make this a more complex album than on first impression.

It does the job you need it to do. It succeeds entirely on its own, self-contained terms.

It may take some perseverance to get on board here with Gibson’s vision--but, if you achieve that, then you’ll be rewarded with a record that’s as beguiling as it is strange.

The Infinity Machines strain occurs in eight stages, each with varying intensities of drone.

I Don’t Want to Let You Down as a whole serve only to fuel, rather than dent, the anticipation that Are We There rightly stoked.

With their debut Mbongwana Star have made a really classic record for the ages, and what’s more, one that could shape a whole lot of music to come.