Despite suffering from flatness, the album is an enjoyable enough romp and in its almost naïve purity, it is endearing.

While her debut featured plenty of catchy tunes, Sees the Light captures Goodman in a far more confident mode, showcasing her wit and personality.

This isn't poppier than anything they've done over the past decade or so, but few individual songs stick out like good pop songs should.

The balance between abstract, synthetic noise and soothing, organic timbres is remarkable; it literally feels good to hear, like a conscious meditation.

This album demonstrates that Yukon Blonde can transition and adapt to a change in sound efficiently and damn well.

Sadly, Relapse sounds like an uninspired band ripping off, and attempting to sound like, classic Ministry.

Here, Unsane deliver the goods with efficiency and reliability.

The album brings the dead back to life with the best kind of dark thrash, which is dripping with West coast hardcore aggression.

It has the type of energy that invades, penetrates and carries the listener forward; it's the perfect balance of seduction and strength.

Zeus avoid indulgent jamming, filler material or ill-advised experiments. Just 14 blissful tunes, rich with influences.

Ghosts is the thinking electronic music fan's subtler and more paranoid alternative to Amon Tobin's brick-smashing A/V opus, ISAM.

As a finale, The Wilderness serves as a perfect summation of the project, confirming the Junkies' core musical principles, as well as a sign that they are sure to carry them into the future.

Although their sound has been copied Ad infinitum, with Koloss, Meshuggah prove that they still do it best.

While the rest of Nothing's Gonna Change sometimes falls prey to sheer navel-gazing, overall it displays some clear signs of maturity in someone who remains more determined than ever to carry on his father's legacy.

Like its predecessor, the new disc delivers a nice mixture of lighter fare with heavier songs acting as an anchor, though Happy To You has a distinctly animated glow.

If The OF Tape Vol. 2 proves one thing it's that Odd Future aren't just a product of the Internet hype machine.

The results sound predictably off-the-cuff, and several tracks like "Jaw Dropper" and "I've Got Money On My Mind" sound like little more than microphone level checks. But when Williams decides to say something meaningful, as on "Dirt," "A Good Day To Feel Bad" and the title track, his sage-like delivery is as devastating as ever.

It's apparent that these newcomers certainly have their ears wide open, reimagining everything they rebroadcast.

Their albums just get better and increasingly fun to listen, and Blood for the Master confirms that.

The 14 songs clock in at only 34 minutes, so Killing Time never overstays its welcome, giving you that caffeine-type pick-me-up so few indie pop albums offer these days.

In roughly 26 hypnotic minutes, Eternal Turn of the Wheel creates a swirling vortex of eerie imagery, like dark earth spirits rising and taking possession of musical tech, infiltrating the modern world.

With a sound as good as this, it's clear Xerxes aren't simply riding the wave, but making some of their own.

On Hive Mind, Ital delivers a refreshing approach to instrumental electronics, with equal disinterest for both the club and headphone scenes, pissing off Internet purists in the process.

Like past releases, [4Eva N A Day] breathes a warm, nostalgic haze steeped in Southern soul and the country rap of UGK and Outkast.

The Hyperdub resident dabbles in funk, grime, experimental, R&B and soul, a mélange of styles that effortlessly coexist.

Mixed Emotions is just the painstakingly crafted, mood-driven long-player we've been waiting for from this immensely talented duo.

It's business as usual for the Wedding Present, but in the best possible way.

A modest five-song EP, from its pared-down arrangements to its monochromatic album cover, Silent Hour/Golden Mile is a surprisingly cohesive release that begs for repeat spins.