Ghost Culture is a house fan's Alice in Wonderland experience--everything is curious, and nothing is quite what it appears to be. But everything is delightful.

Terrible/Beautiful has some wonderful songs and does emit glints of growth, even if it is a tad long and flabbier than previous outings.

As brief as it is, and as unadventurous as the remixes are, Music Industry 3 Fitness Industry 1 may just be the mouthful of Mogwai nourishment needed by those left wanting more after Rave Tapes.

Yes, fourteen years is a long time to wait between records. But, when the end product is this good, it might just be worth the wait.

With all of their untameable if bizarre likeability, Shonen Knife are clearly a band that can just keep on giving.

In the end it is a work crippled by its own indecision, and perhaps bowed by the weight of expectation: a shame, for sure, but hardly a reason to lose faith.

Although this is hardly an essential release--few live albums ever are--it’s no victory lap or self-indulgent unit shifter. Its true value lies in its function as a worthy addition to the latter-day Cohen canon, as a reminder that he is still an active, relevant artist and performer, rather than a self-aggrandising nostalgia act.

It's a thrilling, if occasionally nauseating, sojourn into the spontaneous world of freeform performance.

Power is a rampaging success at being theatrical, dramatic, grandiose and, simultaneously, tasteful.

With the lows and highs out of the way, the three other mixes sit somewhere on the fence.

Throughout the album, there’s a sense they’re just playing around.

This is a record you need to keep listening to and finding new nuances. The sheer scope of material here will keep you entertained, thrilled and occasionally a little bit freaked out for years to come.

As is so often the case with albums like Creation--records that find bands daring to tear up old moves and comfortable registers--the album only stalls when it lapses into familiarity.

It’s a bunch of great dance tracks that should preserve their live sound in its natural habitat.

Pink continues down his path of willful eccentricity on pom pom, then, with little more to add to his reputation (which sadly now appears to be growing more for his haphazard attempts to be an internet-famous ‘figure’ than his musical output), yet there are moments of atmospheric and emotive brilliance that will make you wonder what kind of excellence he could achieve if he weren’t quite so in debt to the R Stevie Moore’s legend.

Antony commands a stadium with his vocals and tone, or in this case the Barbican in London, while the fragile live air has not failed to be captured in the final product of Turning.

Painful carries immense weight at all times, distorted or not. Cunningly titled Extra Painful, this reissue marks the 30th Anniversary of the band and offers futher insights into the Painfull sessions with acoutic, instrumental and unreleased gems on offer.

I'm In Your Mind Fuzz is a peculiar delight; one which you should indulge in at least once, if only just to try it. It may just leave you wanting another taste.

jUSt is by no means a catastrophe, it's just too empty an artefact to recommend to fans of a band who once infuriated, teased, scalded, intoxicated and destroyed their listeners with effortless aplomb.

Acoustic Dust is for those who, at a bare minimum, enjoyed Ranaldo’s latest solo efforts and are interested enough to hear what some of them might sound like in a different setting.

$ingle$ 2 acts as a highlights reel for the past five years, and its subtle shifts leave it feeling less like a compilation and more like an album on shuffle.

The studio cuts from this era on What's Your 20? provide a reminder of the huge contribution that the late multi-instrumentalist (and Tweedy's occasional co-writer) Jay Bennett made to Wilco's gradual shift from sour-breathed earthiness to more experimental, sophisticated and unsettled sounds.

A reflection on the band's past achievements and the clearing of the rarities cupboards: cut out a handful of one-laugh oddities tossed aside with punky abandon, and Alpha Mike Foxtrot beats most bands official catalogue.

Embracing crippling fear has never sounded so bracing.

Fantastically frantic and multilayered, Uurop VIII-XII Places in Sun & Winter, Son appropriately captures a live Fall experience in 2014, and reiterates just how durable the current line up is.

he Basement Tapes are an integral part of music history. Here they are, warts and all, the reality for once a near-match for the bloated myth.

A master-class display in unimaginable skill employed in the service of a greater good: the groove. Add this to a uniformly strong set of tunes and it’s clear that at 74, Allen has created one of his defining statements.

First Demo reinforces the impression that this particular band never really set a foot wrong; they sound more assured here, with just ten performances under their collective belt, than many bands longer in the tooth do in a lifetime.