The Moritz Von Oswald Trio deliver their most impressive and spatially alluring album to date with Fetch.

The EP is good but not great. Diplo missed an opportunity to explore a variety of emerging EDM genres, instead releasing a slew of tracks that bang hard but fail to resonate.

Musically, this might not be post-anything, but it is a postscript to an already impressive musical résumé.

Musostics isn't an unpleasant listen by any means, but it doesn't have the same kind of warmth and charm as his pals' music.

In tone and approach it suggests the populism of a lost Cat Stevens classic ("High Hopes," in particular) but with enough interesting detours.

The results surge with the crackling, raw power of their notorious live performances.

Oshin is remarkably consistent, both in terms of style and quality, and there isn't a dud amongst these 13 tracks.

Wild Peace is a transcendental album that shows a band reaching for new heights, and achieving blissful music that many of their peers can only dream of making.

Think Burial operating on a slower, divergence-filled soundscape.

It's a flawed yet noteworthy project that whets the appetite for Sandé's sophomore effort.

Daybreaker sounds stripped down, not a step up.

Despite its heavy subject matter, Rispah remains an eminently listenable release; it's proof of that somewhat clichéd adage that pain fuels great art.

The album's blend of country, pop and soul is both classic and classy.

Apple's most ingenious collection of songs to date.

With crisp, concise songwriting, slick production and subverted historical rock references, Oceania is more the addition of a new tower to the alternative palace Corgan helped build than the foundations for something strange and new.

This thing may not have a commercial sound, but it is unequivocally memorable.

This is the closest thing you'll get to an aural Scandinavian spa.

There is more introspection on display than usual, especially in the lyrics, but Hallelujah The Hills have simply grown into the band they always threatened to become.

Whitechapel have reinvigorated themselves without reinventing the sound they became known for and, in the process, produced an appropriate follow-up to their sophomore success.

Whereas 936 introduced us to a wonderland of dub-infused psychedelia, Lucifer features a much wider scope from the duo.

Clockwork Angels sounds as mighty as its concept, with the well-balanced interaction amongst Lee, Lifeson and Peart.

Like that excellent mid-period of Entombed where they embraced raw production and an honest approach in every aspect of their music, Struck by Lightning have it all, minus any songs that worm their way into the listener's head.

While the tracks are still heavily Black Sabbath-influenced, unfiltered doom, they don't live up to the expectations of what Wino-era Saint Vitus should be capable of.

The lack of development and subtlety is a frequent problem for the album.

Manically happy, infectiously danceable and too clever by half, if 1991 does one thing, it proves that Banks's breakout hit, "212," was no fluke.

Triple F Life is good because it's big and stupid.

Ursprung delivers a uniquely modern and experimental album that gently reveals more with each listen.

Dub Egg is an album for guitar heads.