Clocking in at over 75 minutes, The Inheritors is an exhausting, complex and disorientating listen, but one that will stay with you.

It may just be Anthrax's most consistent material since Among The Living in 1987.

Her latest creative effort, Tommy on Hyperdub Records, is the darker, more mature, older sibling to Lagata, and another firm exposition of her unique and extensive vocal ability and her creative, DIY production style.

A Wonder Working Stone is the work of a songwriter at the top of his game; inspired by tradition but equally inspired to break from it, fired by collaboration and freed to follow his muse wherever it may soar, like the ptarmigans that spread their wings through several of these songs.

A bold introduction and dynamic arrangement sticks to the formula while constantly evolving and developing. The sharp production allows each instrument the space and sonic textures to open up expansive new worlds of unfolding sounds and wider influences.

All the material contained within is new, and very good. The bands are in fine form, building on their former forms.

On The House, Maine is vulnerable, honest and strong--he soars on this, his best album yet.

This latest release, Mosaic, is Fennesz at his most cinematically emotional. The catharsis at times risks spilling into soundtrack-type material, but Fennesz’s trademark textural warmth keeps the music immersive and involving at all times.

The church's natural reverb provides a chilling reverse-incubation to her trembling vibrato, and at times, her breath too itself is transformed into a fluttering instrument, frantically encompassing all angles of the space.

Bougaïeff’s record is toying with the same aesthetics as Nine Inch Nails, but with the dancefloor’s (and hindsight’s perspective) rather than a powerlifting miseryguts’ – and the result carries much more positivity, lifting us up and through the darkness and into the (strobe) light. ... This album is ideal for anyone who likes moving their body and counting at the same time.

The album unfolds at its own unhurried pace. Initially, it can feel almost vaporous, but its textural richness rewards patience; with each listen, new layers emerge, like light shifting through water at different times of day.

Highly Deadly Black Tarantula has a strange unease to it, an air of what's almost unfinished-ness. Which is not to say that it doesn't function, successfully, as a complete whole; but much like movies made with incredibly strong first and final reels, it rather loses its direction around the midway point, necessitating commitment on the part of the listener to see the experience through.

With Play What They Like Colpitts and Man Forever have crafted something truly unique: a spiritual jazz album for agnostics.

This is Shah finding her rhythm, enjoying herself doing tongue-in-cheek domestic subversion. It's the kind of album she has long wanted to make, when not urged towards a large scale social statement, like on her Mercury-nominated Holiday Destination.

Though they are very different albums, one way that Love carries on where Through Donkey Jaw left off is that it is deeply hypnotic.

Neurosis have not reinvented extreme metal on Fires Within Fires, and at this point it seems unlikely they’ll ever again record anything as gamechanging as Enemy... or 1996’s Through Silver In Blood. These albums and others give them ample credit in the bank to merely – merely! – bust out a new record every few years, tweak their various formulae, play by their own rules and timescales, and keep on delivering the goods in punishing, end-time-preacher fashion.

The central two of the six tracks are a bit of a cruise by comparison. .. Machine-fed streaks of looping refrains and rippling electronics make for a pleasing melange, no doubt, but it’s the surrounding four tracks which really vindicate the horizon-opening technocultural paradigm which apparently informed the album’s concept.

With John Wizards, Nzaramba and Withers have arrived.

This is Svenonius with just an electric guitar, a microphone, an analogue-sounding drum machine and a tape deck, creating the rawest and most stripped-back manifestation of his singular muse to date.

The production credits read like a fever dream: The Alchemist, Kenny Segal, EL-P, Conductor Williams, Preservation, Messiah Musik, Sadhugold, Ant, Shabaka Hutchings, Steel Tipped Dove, DJ Haram, Willie Green, Jeff Markey, Saint Abdullah, and Human Error Club. And yet, the sound holds together. Disorienting, yes. But deliberate. Woods is the constant: his voice measured, ghostly, sometimes smirking.

Lustmord's music takes its time, but it's hard not to get absorbed into its shadowy netherworld, even if all meaning and sense in there stay resolutely out of focus.

Lux is a surprisingly rich experience that's difficult to fault. It's not the most startling record Eno's ever made, but it probably is his most successful ambient work.

Rave Tapes may not be their definitive album, and even if that never comes, it adds another clutch of undeniably brilliant songs to their arsenal. The hawk is very much still howling.

Instead of trying to recapture the magic of their formative years, Hatori and Honda have written and produced a meta-comeback record about the impulses that inspire artists to reunite.

The 24-piece choir which accompanies most of the pieces here are a lightwave beam keeping the listener afloat, yet it's Coltrane's own vocals which resonate the most deeply.

Eleven great tracks out of twelves is a handsome return though, and the listener must surely delight in the fact that Harvey isn’t done with Gainsbourg just yet.

Ultra is, at first, quite hard to get your head around. There’s a lot to take in over its 50+ minutes, not so much in the With Love sense of sheer musical volume but more in the new ideas and stylistic left turns that find their home on the album. Leave it to sink in, though, and Ultra works fantastically as an album experience, with sequencing that sees the level of intensity wax and wane as emotions freeze and thaw.

Wilds feels like a homecoming for a band that was doing the 60s-influenced, boot-fair futurist thing long before it was cool. What a treat to have them back.