On their debut, Jungle show that you don't have to reinvent the wheel as long as it's travelling down brand new, unexplored avenues.

Peaceful yet highly engaging, Ishi invokes the masters of modular synthesis, a music rooted in technology that somehow comes across as utterly primeval.

Unlike the conceptual rock opera project that was Nostradamus, Redeemer of Souls is pure metal joy, full of surging anthems, martial stomps, unbridled passion and huge, crunchy production values.

This is certainly one of the best dancehall releases of the year.

Unfortunately, the band play it safe on No Coast.

Just consider it a solid project from an artist who, after creating albums since the late-90s, is finally getting her recognition in front, instead of behind the curtain.

Either as a companion or a standalone, it's a consuming piece of music that reminds us of the Weavers' ambition to always lead and never follow.

One of the best Americana records of the year.

Venetian Snares is a veritable virtuoso when it comes to drum programming, and as was to be expected, My Love is a Bulldozer is littered with downright slick percussion.

Overall, In My World is a first-rate sophomore effort.

Using a finite set of equipment to create these seven tracks, much of EX comes off strikingly similar in sound, but Hawtin being the staunch veteran that he is, uses it to his advantage, reusing and appropriating signature tones and modes to craft the most solid live set you weren't lucky enough to attend.

The band one-up Ex Lives in every regard.

Frankie Rose might not be the face of Beverly, but Careers is one of the best things she's done to date. But Drew Citron deserves most of the credit.

Blissfucker is not quite as perfectly crafted as Darker Handcraft, trading control for the broken and the strange, but though the results are less even, the finest work on the record still finds Trap Them at their very best.

On Gamel, OOIOO praise the traditional while eschewing the benign to create a truly original rhythmic screed.

As their name suggests, they have all the control over the music, and how they channel that is through wonderful anarchy.

With LaCaze's drum tracks on the record, Eyehategod is a fitting tribute, but also signifies a new beginning for this band that just don't quit.

Not everything here works--Shahid Mustaf MC's needless reworking of Parliament's "Getting To Know You" simply doesn't improve on the original--but exclusive mixes like Joey Negro vs. Horse Meat Disco's "Candidate For Love" should ignite the dance floor.

Hopefully ASDIG will never give in completely to conventional songwriting, because it's the little idiosyncrasies that make their expansive music so breathtaking--which, incidentally, really is the best word to describe Sea When Absent.

An album that's good, but hard to get excited over.

It moves Krell closer to the mainstream without sacrificing the emotional complexity of his music, proving that Krell is a musical force not to be underestimated.

The record succeeds when the band give into the temptation of pleasing their crowd with ramshackle tracks that will work well in a live setting.

Everything goes by at such a breathless pace and without much variation that for individual listening, it gets a bit draining at times.

Like much of Willie's work these days, Band of Brothers might not bring many new fans into the fold, but it's sure to please those already there.

In the Lonely Hour is a mostly fantastic debut that is more than deserving of a double dip.

On The Air Between Words, Martyn comes off tranquil, playful and completely in control of his own kaleidoscopic world.

They've got the speed, the outfits and the record collection, but Cerebral Ballzy's interpretation of hardcore punk never comes off as more than cartoony.

This is Lone's best work to date, and one that shows it's possible to keep evolving while holding onto a strong sense of identity.