Green's harder edge and presence as a musician can be heard lyrically, although her soft vocals fall flat, shrouded by a sea of synthesized blips and bleeps from the ubiquitous drum sounds.

Kvelertak feel as though they are right on the verge of something extraordinary, as they explore the limits of their very successful aesthetic with Meir.

While not an absolute mess, I Am Not A Human Being 2 isn't very good.

This is well worth having for fans that have worn out Mare or Terra, despite the fact that the immersive, soothing qualities that balanced the angularity on his previous releases have been ditched in favour of often shrill, jarring timbres.

Unmistakeably, each track encapsulates the old and new in Wire's musical history.

As it stands, it's another tiresome release studded with a few gems.

Love & Devotion is a quality departure from solid musicians that should stand as a stark lesson to the armies of artists out there producing dreamy, '80s-inspired synth-pop of lesser quality.

With Afraid of Heights, Williams has achieved a rare type of punk rock maximalism, crafting a massive, buzzy record on his terms.

Comedown Machine is a more even effort [than Angles], but it lacks any show-stopping moments, allowing the forgettable songs to blend together.

Lapalux has found his home at Brainfeeder, with Nostalchic and its masterful genre crossings a fitting first release.

This is a fine soundtrack to a road movie that's yet to be filmed.

After producing such a powerful, chimeric record, which will unquestionably stand as their masterpiece, there's no question that KEN Mode are currently at the peak of their collective talents.

Team Ghost and Fromageau have a number of good ideas, but the band's biggest downfall stems from the fact that they sometimes condense too many of these ideas into too small a space.

The ten raw and carelessly endearing tracks feel oddly cathartic and refreshing, in an often pitilessly, anxious world more concerned with who tripped up the stairs at the Oscars.

They have made their most consistent release yet, stretching the earworm-y catchiness their album Weeds employed.

Off the Record may be dated in some respects, but it still sounds like it's aimed at the future.

Unique and dynamic, this is what Clutch do--and do best.

It sounds more rigorously composed, but still with the swing that comes from live performers on un-quantized instruments, filtering the rhythms through their singular perspectives.

A raucous centrepiece it is not. A soundtrack for a nightcap alone though? Absolutely.

Invisible Life is a great electronic pop record that sees Lange meld the experimental and pop threads of his music seamlessly.

On her fourth album, inventive and demented singer/songwriter/guitar hero Marnie Stern whips up a potent batch of quirky, invigorating and, at times, beautiful new material.

Though a bit short at 36 minutes, there isn't a weak track to be heard.

Tooth & Nail is mellow, but not un-edgy.

The issue is whether he's done enough to quench our R&B-infused pop sensibilities; he hasn't. The needle may have jumped a bit, but ultimately nothing here turns things over.

The cleaner sound of Water on Mars introduces a newfound confidence to the music of Purling Hiss and it's certainly a welcome direction.

Apparat's foray into ethereal compositions is a powerful, vivid work of art. Krieg und Frieden deserves a standing ovation.

There's no question that The Stand-In is a step-up from her previous effort; her delivery and songwriting show a confidence that previously lacking. However, The Stand-In is no stand out.

The words only hint at the true meaning of the piece; it is an experience that needs to play out in a linear fashion, felt and absorbed through multiple senses.