The End of That has more outstanding moments than La La Land, but whether those highlights are enough to neutralize Plants and Animals' weakness for occasionally derivative kitsch depends on how much their fans are willing to overlook.

Temple Beautiful is the sound of a mature rock'n'roller continuing to reach for new heights.

Personality comes off as expert techno done in a peculiarly conservative manner, an unadorned but sturdy tugboat floating amongst dubstep's rising tsunami.

To the casual listener, it may sound like a shadow of their greatest work, but fans will find it rewarding.

For a stopgap collaboration, Underrated Silence sits comfortably with some of Schnauss's best work.

The music contains all of the trembling beauty fans have come to expect from Alcest, combined with a sense of vitality and wanderlust.

The record is their most musically ambitious to date, while still maintaining the unrelenting, thrash-influenced Southern heavy metal they do best.

With a fine balance of clean singing between Scabbia and Ferro, atop the technicality of strings and beats, there's something for everyone.

Apart from the uprated production, there's not a great deal to offer to listeners.

Never in recorded history has there been an album of such audible variety, distinctive fidelity and lyrical intensity.

Walker is an exceptional blues artist at a time when there are few left, but on Hellfire, despite its volume, he comes off as frustratingly average.

It's a raucous, vibrant, but well structured musical approach that brings along recognized artists (like current lead singer Corey Glover and local rap legends Mystikal and Mannie Fresh) for the ride.

The profound sadness imbued in Mr. M, something that hasn't necessarily been as apparent on previous Lambchop albums, lends a consistency that produces a satisfying meditative effect.

It's clear that White's bravery in baring his soul has resulted in a quiet masterpiece.

The record still meanders around a bit too much, in the way instrumental music can, not quite sure where it's heading when it should be soaring. When it does soar though, it hits some pretty giddy heights.

Plumb is a rich, complex album, with the songs spilling over into each other.

It's unburdened by obligatory connections to what's come before and as a result, has a renewed amount of energy.

The fact that it's both artistically bugged out and immediately rewarding is just the icing on the cake.

Sinéad O'Connor's eighth full-length album, and her first in five years, is a revelation.

On their new full-length, much-anticipated Epitaph debut On The Impossible Past, they exceed expectations once again.

It's a wide landscape that Tindersticks illuminate with a palette of both vivid and muted colours.

Though not the punchy, great leap forward it could have been, Rose finally proves that she's far more than just a part of her former groups.

Windy & Carl deliver yet another significant and sublime release that's perfect for late night listening.

This record collects the works of Austrian composer Franz Schubert and morphs them into a gloomy meditation on the sure, comforting absurdity of existence.

Their brand of quirky indie pop runs throughout, but the slower numbers are as effective as the upbeat tunes.

Far from essential, Hotel Sessions is a glimpse of a once great songwriter in mid-process.

They're still more than capable of cranking up the guitars and making the kind of caustic, spiky noise that's been their trademark for more than 30 years, especially live.

Reenergizing the band after a lackluster sophomore effort, the move [of switching guitars for synthesizers] has led to an atmospheric, assured and largely compelling record.