It's an impressive work from a genuine legend and as a response to our current situation, leaves us with a pertinent message: in Bruce we trust.

This a slow-burning, intimate and accomplished disc, best enjoyed if you clear some space to let it grow.

Phenomenal Handclap Band have created an extraordinary record, an accumulation of countless styles and eras of music that at times works impeccably. But too often it just a little too frenzied to adore.

As such, those looking for an eerily familiar--and often brilliant--throwback to the sounds of 1972, please enquire within.

Love At The Bottom Of The Sea certainly has its moments, but Merritt albums now feel like inessential appendices to a great catalogue, rather than fundamental further developments.

A little patience pays dividends which, for the first time with an Andrew Bird release, are as emotional as they are cerebral.

Point Of Go is a decent, albeit flawed, transition album.

What's remarkable is how well it all works--no glitches, no hiccups, just 10 tracks of mind-broadening quirk.

Temple Beautiful is a wonderfully eloquent depiction of, and dedication to, the wildness of his adopted city, a bittersweet ode to the feral nature of urban living amongst the greats and the not-so-greats, the wannabes and the has-beens.

It makes for interesting listening, sitting sonically as it does between Frahm's minimalism and the rich swathes of A Winged Victory For The Sullen.

Just as he did on Home, he presides over the germination of initially simple ideas that wind in to loops, generating forward movement against a wide screen backdrop.

Featherbrain is another solid album from the unassuming Norwegian, even if it lacks the direction and cohesiveness of her previous offerings.

An album that sits comfortably in the 4AD canon of excellence.

This is a brave but captivating debut album, exploring the inner parts of the mind, and proves a very strong addition to the Brownswood canon.

This is strained, evocative music that is able to relay deep, complex human emotions in very direct terms.

This is an album that works incredibly well turned up loud.

There is something beautifully moving and enchanting about NZCA/LINES' music, and his debut album is a wonderfully assured and measured collection of forward thinking electronic pop.

Ghostory, rather than resting on the laurels of the band's successful sound up to this point, adds a harder edge to the rhythm and consciously moves on a step.

While this new album lacks the immediate warmth of its predecessor there's much pleasure to be had wallowing in its rich patterns.

It is a remarkably enduring and giving album that further enriches this already flourishing genre.

Hi-Tek's construction of techno beats and rave stabs on the quirky I Fink U Freeky and heavy brostep on opener Never Le Nkemise just add to the nauseating concoction of trash that comprises Ten$ion.

While Reign Of Terror may not possess anything quite as startlingly infectious as Infinity Guitars, Sleigh Bells' return shows that they are more than a one-trick pony.

Some of the tracks do seem a bit half-formed admittedly, with the second half of the album sailing a bit too close to filler for comfort.

This is an album that need proffer no apologies for its dramatic, overwhelming and salutary take on darkness and light.

With Young Man In America, Anaïs Mitchell has created her second consecutive masterpiece.

Maraqopa is, at times, a sumptuous sigh of a record, the sound of a man exploring a territory he's earned the right to claim as his own.

Despite such misgivings [that the album runs out of steam and falls into pastiche territory] it's a decent enough record that deserves a follow-up.

Hadreas is a staggeringly talented songwriter, with Put Your Back N 2 It showcasing an array of songs as deceptively simple as they are jaw-droppingly powerful.