The record has big, cosmic questions about time and space and possibility swirling 'round its bejewelled head, but it's at its best when putting these concepts under a microscope.

PLUS is certainly a stronger example of Autechre's range than SIGN. This does come at a cost, where the cohesion of their previous album is somewhat lost on this most recent one; this is especially telling in the latter half of the album, where the programming becomes somewhat disjointed. Nevertheless, any Autechre project is worth praise solely due to the duo's consistent aural innovation.

World Wide Funk doesn't break any new ground, but it showcases Bootsy Collins blissfully stretching out.

Although Aquarius may not rock the boat with innovation, its more than confident in its stride, delivering an entertaining effort from the sultry singer.

At times emotive and playful, Broderick has created a cohesive album of delicate, Russell-esque melodies with enough wonkiness, experimentation and spoken word to make a unique, personal and engaging release of happy accidents.

Basinski's latest effort is ambitious yet remains rooted in what he does best: instilling a multitude of visceral, yet ambiguous, feelings within his listener.

King Gizzard's offerings, by their experimental nature, are a disjointed product. Rather than fight this, Chunky Shrapnel thunders headlong into it. ... While this jarring approach may not give you the best sense of a King Gizzard show, it certainly captures what makes them so appealing.

A Trip to the Coast is the welcome return of a familiar form of hooky, melodic minor scale pop balladry.

The arrangements roll and soar while leaving room for more intimate revelations, which is where Western Stars really finds its stride.

At its best, it sounds like a long-lost Pink Floyd album actually meant to be synced to The Wizard of Oz (the album's title track and "Mr. Wright"); at its worst, it evokes old Tame Impala (the first movement of "Cricket And The Genie" and "Boomerang Baby"). Basically, it's a win-win situation either way.

After five or six songs, it has a sonic and thematic sameness to it that manages to work solely because of the glimmering moments when he allows other voices to sparkle and the high-quality production.

When Royal Thunder pull things in and keep them snappy, they're heading more towards Rival Sons turf, and that's a good place to be.

If J. Dilla has been Detroit hip-hop's most influential recent figure, then DJ HouseShoes is the stern, no-frills custodian of that legacy, known to regulate violators and opportunists circling the music James Yancey created.

Its meticulous self-production frames new lyrical pathways from band leader Yannis Philippakis, who seeks to channel the anxieties and fears felt the world over in light of our crumbling political systems and ecological crises. It's a tall order to wade into such essential yet complex themes, ones that Philippakis felt a duty to engage with.

The musicians' playing retains the band's typically muscular vigour, but has taken on extra nuance.

Hardcore Bronson fans may need a little time to get into SAAAB Stories, but it's worth it once you do.

Even ballads like "Give it Up for Love" and "Mountain Song," while rooted in dance music, have a fresh and organic feel to them that feels equally suited to the dark booth of a nightclub as it does a cozy catch up at home.

Lux might not be breaking new ground, but given the beauty and resonance inherent in Eno's music when he sticks with what he does well--namely, gorgeous, slow moving ambience with plenty of breathing space and emotional impact--revisiting familiar turf is just fine.

Valtari might not be Sigur Rós's greatest work, but it is an album of subtle beauty and remarkable restraint that deserves to be heard.

The strongest moments on IX, like on any of the band's albums, are those that manage to create a vast rock sound by building elements up to impressive climaxes before bringing them crashing down.

As is, it's a great outing by Anthrax, if slightly frustrating in its lack of ability to keep the great momentum going consistently.

Simultaneously modern and nostalgic, a hard rocking band that you can lose yourself in, Hotline TNT have made a record that defies time and space.

There is less attention paid, it seems, not to the writing, which is often clever and quite sharp, but to the performing of the writing against the virtuosity of the instrumental performances. The balance puts the album unnecessarily on edge. All that said, this is one of the better examples of what post- or progressive bluegrass can do.

For the most part, Based on the Best Seller feels like a revitalized bunch of friends cutting loose and having a blast. The wheel hasn't been reinvented, but you get all the inside jokes because they're your friends — and you're just happy to have been invited along for the ride.

Overnight's departures from form are subtle.

Only the lengthy closer "Made of Air," while in line with Harris' more drone-based experimental output, seems somewhat unnecessary here.... Otherwise, Grouper's latest is yet another exceptional offering that captures a truly unique voice in a uniquely natural setting.

Natural Disaster builds on the laidback, Californian sound that defined much of Best Coast's catalogue, and is a reflective time capsule of a moment between distinct chapters in Cosentino's life.

Occult Architecture Vol. 1 isn't as daring as its literary influences would suggest, but it succeeds often, particularly when it varies from its central sounds. Moon Duo should embrace the change on volume two.