Their versatility and ability to channel some of the genuine peaks of the paradigm into their sound is a huge strength, and while it doesn’t break the mould or reinvent the wheel, Love in the 4th Dimension is a very impressive debut.

What it does manage to do, however, is function as an engagingly visceral work of provocation, on balance interspersing his trademark beauty with enough challenging moments to reward repeated visits, even if listening to it never exactly feels like a pleasurable experience, and maybe that’s enough.

Grace and Lies is at its best when opposing ideas collide into each other.

The ethereal keyboard lines and the chemistry between the two guitars are able to trap a listener within the album right from the start, and it rarely lets you stray too far from the music.

Acid Tongue is fuller and has more of a ragged, live-band feel than any of Lewis’ previous work.

He rarely reveals much of his true intent throughout, relying upon platitudes that, while truthful, make Hadsel sound a little thin in places. But Condon knows his audience well, resorting to a heavily cinematic atmosphere that will have his listeners contemplating their own aspirations rather than focusing on his. Just like he intended to do.

Blissfully addictive and dangerously catchy, Heza is most certainly one for the more bright and breezy of us this summer.

While not the most creative thing he’s produced, it feels naturally cohesive and stands as an interesting piece on its own.

This may be no grand revelation, but it has its moments, and overall it’s a thoroughly satisfying sit.

Green continues to take us on a steady ride on Fragments.

Enterprising Sidewalks may not be the best album released on the label this year, or even Lorelei's best album for that matter, but if the band can continue this kind of determined progression, it leaves me with hope that both the band and the label will grow with each new release.

The Rhumb Line is at times moody and downtrodden, but it's Ra Ra Riot's ability to pull out of those situations that saves the album.

Even if Perdida does have a good amount of hammy lyrics and dull, strummy adult-pop, it's still the best music they've written since 2001's Shangri-La Dee Da. And, in many ways, is proof of why they deserve a fair shot at keeping the Stone Temple Pilots name active.

Preoccupations is a strong follow-up to an excellent debut record. It showcases a band that is evolving and finding new ways to stretch out their sound.

All things considered, as long as you don't go in expecting an album to change the world or to tax the grey matter, you'll find much to enjoy in Parallax Error.

Their initial EP documented a band that sounded ready to take on the world – but the follow up just shows that the journey may take longer than expected.

Reflektor hits too many high points to entirely consider it a failure, and despite its convoluted lyrical content and overreaching scope it still crosses the double album finish line with satisfactory results.

They used to make little records like this in the anything goes early 80’s. It’s nice to see Konigsberg bringing it back.

It is essentially indie-folk by numbers, with a nervy wistfulness and soft-hued canvas, but its aching beauty prevents the record from stifling a listener with its persistent translucence.

Bell X1 has found an absorbing but unshaven sound, set apart by ease and experimentation and yet inevitably spoiled by them.

Stuck on Nothing opens strong, closes strong, and the intermediate tracks are interesting enough to maintain interest. Free Energy haven’t created anything cataclysmically new, but they have created an entirely likable pop album.

Though not his strongest effort by any means, Fantasy proves that his songs can soar even if he dials it back.

More quickly than you'd expect, Busdriver's quirks become endearing; his cartoonish vocal stretches to reach those high notes become normalised and you begin to appreciate how much heart he puts into his singing.

Heavy Rocks 2011 is a full-on guitar rock album that utilizes the glam-ish, arena level riffs and sounds the band splattered across all three volumes of their Japanese Heavy Rock Hits 7" series.

Away may only appeal to those who are truly committed to Shelf’s unyieldingly wry judgment, but the score that accompanies it is beautifully intoxicating.

There is no doubt that it takes several cycles through the album for things to start to click. That’s if you find yourself willing to give in to the album’s concepts and approach.

On The Slideshow Effect, Memoryhouse strips away the full production, lets the vocals rise to the front, and lets their songs do the talking. The bold choice exposes their weaknesses, but Memoryhouse still has plenty to be proud of.

Maybe it's less intimate and personal than his past releases, but Revelator sure goes down easy when it's most needed.