For what is a hugely bold manoeuvre, he has carried it out with much aplomb.

This is a frustrating second record, but it does prove that To Kill A King have the potential to be a far better band.

The vast majority of Music In Exile features the sparse but richly nuanced sound of a supremely well-oiled band with one foot in ancient traditions and the other firmly in the here and now doing their intoxicating live thing in a room whilst a recorder's switched on.

Although the sometimes scattergun approach to genre-hopping has its drawbacks, what’s great about Policy is the future possibilities it allows Will Butler.

His playing may offer fewer surprises than you might expect, but his spirit as a leader is present and the handful of sonic oddities he throws in are a joy to behold.

In the end, another eternity leaves us somewhere in the middle, to contemplate the excellent and the bland.

A tippy, interstellar journey all the more worthwhile taking.

Reset is an enjoyable 42 minutes of dystopian aphorism and boasts more dense textures and a keener ear for juxtaposition than its predecessor. It's a definite progression; just don't expect it to tear down the firewalls of GCHQ any time soon.

This is a record that shrugs off some of the grandiosity of America and instead offers more detail and smaller, more nuanced yet easily interpreted emotions within a relatively familiar context.

With Chasing Yesterday it certainly ain’t broke; it may not be as wacky as he imagined it, but it does its job rather well.

The resulting project is weirdly disappointing; a bold creative decision ends up splitting the collaborators’ contributions down the middle, and BBNG bring surprisingly little vigour or experimentation to the table.

Ultimately, We Slept At Last is an impressive debut that showcases an enchanting and fully fleshed-out sonic vision.

Green's lyrics are a 140 character pop song. They are hyper-condensed. This can make them seem lazy and tropey--but she knows what she's doing.

It doesn’t necessarily stay in your head all day but when the drawling rhymes cut in there is attitude and thought provocation in buckets.

In a live arena the sinister power that Restarter wields will thrill, but as a static piece it's dense beyond reason.

It's an aesthetically immaculate, existential, emotionally intense experience. Listening to this album is an emotionally draining exercise--but believe me, it's worth it.

It's a noisy little beast that will leave you feeling somewhat battered, disorientated, but actually, the stink of the corpse of rock has never sounded so good. Just have some paracetamol to hand.

They have always effortlessly switched registers, blurred genre boundaries and smattered their lyrics with eclectic cultural references. Citizen Zombie does all of these things, without loosing its political edge.

As inspired as the band's sounding, it's the three cuts from Houck's solo show that really stun.

Sean Carey could really do with pushing himself further than he does at any point on this laurel-resting stopgap release.

Full Bleed reveals a complete lack of understanding of the dynamics of black metal. It doesn’t sound like a black metal record and never gets close to sounding like it.

Hexadic works best when Chasny dials down the guitar squall and channels his energies towards more nuanced fare.

So, it seems that band that once loved us all like madmen have mellowed and become more self-assured with age. But they've definitely not lost their spark.

Picture You is most certainly amongst 2015's most remarkable releases. Drink it in, and be careful not to judge it too soon.

Mourn is a hearty, eye-popping reminder just how far we have swayed from rock music’s embryo nowadays and how awfully contrived the revivalist stabs have been.

Ibeyi is an ambitious debut record from the twosome, and one that deserves to be heard by as many people as possible.

With Transfixiation, they’ve provided a compelling rebuke to their detractors; once again, there’s no shortage of consideration behind the chaos.

What makes this album stand out from other synth pop albums is how they can switch from being overtly synthetic.