Sequitur feels very much like a whistle stop tour of the history of ambient/electronic music.

Like Within and Without, it's no overhaul, but Young Hunger has a much more immediate presence, more direct in both a melodic and emotional sense and generally with a lot more 'oomph'.

The music here is more considered and richly teased out.

They've made a modestly magnificent record that entirely validates this reformation.

Lonerism marks Tame Impala's arrival as a genuine force to be reckoned with, and even if at times there's a feeling Parker's trying to cram too many ideas into one piece, it's a record that will undoubtedly be used as a benchmark for guitar music of the near future.

While a gradual refinement is noticeable from House Of Balloons to Echoes Of Silence, a lack of breathing space between the tracks does them no favours. You're better off dedicating yourself to each album's meaty serving of revelry and regret in turn.

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

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.

Dos! is a reliably fun, garagey treat--and should be viewed as no more than that.

As an album King Animal remains a somewhat numbing listen, its components, as excellent as they individually often are, making for a rather wearing collective, undeniably muscular but curiously unmemorable.

This is widescreen alt-rock with an appropriately mammoth production, where euphoric choruses and crushing verses don't just sit alongside each other but ebb and flow to become inextricable entities.

The Bears for Lunch is business as usual: more songs about airplanes and beer, as David Byrne would say.

While it's obviously been personally cathartic, you have to think that it's far from the best record Benjamin could have put out.

This is the sound of a well established, accomplished singer and production crew that have earned their right to do what they want to a high standard.

Nine Black Alps clearly do 'get' what is so satisfying about the particular well of alternative they drink from, even if it hasn't really been all that alternative for 20-plus years.

The surreality and absurdity of dance music from the apocalypse is a joyful alternative to the surreality and absurdity of disaster movies and real life disasters.

This is a bad album. The power ballads have some good elements. You might sing one of these songs at karaoke one day. You should not listen to this album in its entirety.

For whilst Rave Age isn't as bad a set of tunes as the title would have you believe, it is undoubtedly more of the same yet less of a coherent album.

It's a tighter take on pop than their early records, but as the storming energy that kicks off Heavy Mood begins to ebb away the group begins to feel oddly charmless.

In principal this is another finely crafted record in the vein of much that has been released by Neurosis since 2000. The problem is that what sounded so exciting during that vital three album run identified earlier was never going to have the same impact today.

With rave reviews in Venice, The Master will undoubtedly earn its share of awards, and, if this soundtrack is anything to go by, it deserves to.

New Relics feels more like a work in progress, a record that was more satisfying to make than to listen to.

As it is Luxury Problems is a shift in a new direction that's not quite bold enough to make the jump in full, but still loaded with incredible ideas.

Whether it be the quaint elegance and flowing, reverb heavy guitars of kaleidoscopic opener 'I'm Gone' or claustrophobic haze of album standout 'Heavenly Bodies', there's little here that disappoints.

What really sets Psychedelic Pill out as some of Young's strongest work in a while though are those other epic tracks, which deliver that expansive, explorative sound with some deeper voyages into the singer's thoughts.

For all its manufactured essence, Red remains firmly grounded at the crossroads between innocence and experience.

Sadly, the quality of song writing and accompanying musicianship--i.e., everyone except 'arry--is mediocre at best.

Dept. of Disappearance is a good album that makes for a pleasing listen, despite its lack of ambition.