These are supremely creative songs ― violently sexy, humorous and malformed extractions from some of experimental music's most delightfully twisted minds.

If hippie songstresses, piercing sopranos and meandering song craftsmanship are your bag, this album is certainly for you.

Most of Occupied with the Unspoken works like a well-executed indie film score: evocative, exigent and with purpose.

The drums are unquestionably positioned as the star and as a result, Harmonic feels much more like a jam session crossed with a vanity project than a genuine album.

Carved into Stone is a bit hard to warm up to, but it finds the band reaching out and, in doing so, writing their catchiest material since they snapped our fingers and necks so many moons ago.

Major doesn't run at the consistently breakneck pace of Fang Island's debut, but the group rely less on near-ludicrous histrionics and more on exhibiting the joy of creation through complex and confident songwriting.

Erikson falls in-line with dreamy progressives like Caribou and Four Tet, generating ten new compositions that sound as beautiful as they do bouncy.

What it is, frankly speaking, is one of the brightest R&B-flavoured projects to touch the mainstream in a long time.

Sadier's glorious voice could easily cover-up a multitude of sins, but it doesn't have to on Silencio because this is a great collection of songs.

Handwritten may not break any new ground for the band, but it's easily their strongest release yet.

There's something inexplicable about Purity Ring's marriage of Montrealer Corin Roddick's haunted, bass-heavy hip-hop-tronic production to Haligonian Megan James's prim alto croon, something that transcends what is traditionally accepted as "good" music.

There's nothing quite crazy enough, however, to be truly exciting and the slower numbers offer little in the way of texture or atmosphere.

With verses courtesy of everyone from Schoolboy Q and Action Bronson to Roc Marciano and Danny Brown, Alc continues to wear his hazy influences on his sleeve.

There certainly is a great deal more to Guthrie's immense body of work than what is represented on Woody At 100, but apart from some newly discovered recordings that completists will want, this is an ideal package for the uninitiated, and one to be treasured for years to come.

The narratives are better developed and there are invariably a couple of lines in each song that hit home emotionally.

Life is Good is a well-crafted entry from a seasoned veteran that displays his vitality and vintage flow 20-plus years into his career in a genre where many MCs don't age gracefully.

Combining Latin rhythms, call-and-response vocals and funk stings, the brass'n'bass music of the Marković Orkestar relies on pure fury and sexuality in a genre built upon romantic passion and tradition.

A frustrating album that manages to both thrill and disappoint in equal measure, which suggests that with some trimming, this could have been an incredible EP.

G is for Deep remains an album driven by lustrous compositions and like any good artist, Doseone's voice dutifully abides.

It is a skilfully wrought glimpse into that dream.

The result is flat and congealed, lacking danger.

This record is crawling with too many hooks and good-time jams to quibble over guitar tone.

Their self-titled debut LP packs a mighty wallop, matching a brutish, derisive attitude with whip-smart songwriting and compelling hooks.

That's Why God Made the Radio is the dad-rock album of the year.

Mission of Burma continue to create inspired, groove-laden post-rock that threatens to overshadow the acts they've influenced at every turn.

[The guitars are] the most interesting thing about Broken Water and when they aren't around things plod along uneventfully.

While Bell boasted that The Industrialist is "Demanufacture-plus," it's not quite. However, at certain times, it does come pretty close.

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.