You Against You, which benefits from that unpredictable, bolted-together feel that all the craziest Slayer songs possess; and Implode, the first advance single released last year, and now re-recorded. The rest, unfortunately, lack spark.

So it’s an album that demands your attention.

While labours of love are always hard to knock, if Godin is trying to convert untested ears to Bach’s charms, he might be better off using the more effective tools in his impressive arsenal.

There are times when Music Complete seems like the result of a newly passionate group’s desire to squeeze a decade-worth of ideas--and another quarter century of influences--onto one album. That said, it’s still their best work since the age of Republic.

Consistent with the band’s work since All Is Dream, wide-eyed odes to the elements are interspersed with fragile ruminations on relationships. A welcome return.

Ones And Sixes sees Low churning out some of their most accessible work, with What Part Of Me having the potential to be an unlikely hit. As ever, strong stuff in every way.

The man is a master guitarist--and an unflashy one, content to let a wash of pedal steel or a sprig of piano commandeer the songs.

Rattle That Lock is a small, intimate album that maintains Gilmour’s impeccably tasteful quality threshold throughout.

An eccentric take on Please, Please, Please is maybe surplus to requirements, but the rest is lean and lithe.

The songs aren’t a huge departure from Folds’ regular style, with sweet melodies, vocal harmonies and lyrics that switch between the quirky and the emotional.

A record that’s strongest when at its most unassuming.

La Di Da Di comes across a tad too studied, never lifting out of the complex math of the group’s music.

This is a landmark project in that respect, much of which succeeds in being thoroughly bewitching.

The first album in this collection is a rather spotty affair, suffused with dread, as if the band are suddenly experiencing a moment of self-awareness. Still, by most other group’s standards it would be a career stand-out. It’s Leaves Turn Inside You, though, on which Unwound’s legacy rests. A thrillingly diverse exploration of the possibilities of rock’n’roll.

Though recorded cheaply, The JPSE’s early material remains especially sublime.

As with the name (the band is actually from NYC), there’s a satisfying contrariness throughout a curious and sometimes excellent set.

Another excellent studio album of all-new material.

It’s a consistent and often stirring effort, with Liebling in particular sounding on fine form.

Invite The Light is music to soundtrack late-night drives on LA freeways and, when it works, it’s sublime stuff.

If you only buy one multi-disc set by soul legends whose work spans seven decades, make it this one.

Throughout, shimmering walls of guitar give way to echoing, spacey psychedelia; riffery and frantic drumming; tuneful asides and emotional rampage.

There’s enough originality, guile, and plain old-school hip-hop verve here to make this stand on its own.

It’s a sturdy, muscular affair wherein Lydon rants energetically about everything from blocked toilets to Botox and the iCloud, on quintessentially cranky, ruck-friendly fare such as Double Trouble and I’m Not Satisfied.

The album isn’t radically different from the five other records Motörhead have made with Webb since Inferno, in 2004.

When in sharp focus, the sound is utterly charming, with Le Bon’s almost trademark Welsh tones a fine match for the amp buzz and Presley’s meandering guitar lines. Too often, though, it spills into whimsy, lacks direction and frequently infuriates.

Available on vinyl for the first time, and heralding the reissue of Jansch’s entire catalogue, Live At The 12 Bar is a cut above many of the similar live captures of Jansch’s work.

The band lace all 14 tracks from Psychocandy with attitude, adrenaline and volume: their collective belligerence peaking during Never Understand and the relentless metallic KO of Inside Me.

Things become a little more introspective later on, with acoustic guitars, abstract soundscapes and restrained percussive patterns taking the fore, but, thankfully, the material remains hypnotic throughout.