Quiet Signs, as sparse and subtle as its name suggests, shares its secrets only with those willing to give their complete and undivided attention in exchange.

LV are remarkably adroit tunesmiths, able to navigate the fine lines between minimalism and melodicism without ever descending into dry formalism or familiar clichés. Josh Idehen has a voice that is just as expressive and powerful.

It's a remarkable record, a reminder of that Reich, unlike many composers of his era, has not become archive material. He continues to speak to the cutting edge of music, to experiment with new compositional directions, to be vital.

This album is a demonstration of how BigHit Music’s in-house producers and TXT members' composing skills blend smoothly to experiment with sound in clever but relatable narratives. ... The Chaos Chapter: Freeze is a surreal album in which a mix of sounds, music genres, and metaphorical lyrics seem out of shape – until you step to the right distance to appreciate the whole painting.

A soup of electronic interference, exhausting percussion and smothering bass-cloud. It's stultifying like a bad case of screen fatigue; tangled and sparking - the sound of frazzled, short-fusing nerve ends.

With their uncanny knack of still sounding like very few other bands before or since their early stirrings, faith in letting the "moment" loose has once more revealed Levi, Pell and Khan to be a strange and sorcerous triptych unto themselves.



There is an eerie majesty threaded through this record that trickles through, burrows under the skin and then keeps going.

Adrift is a simultaneously relaxing and arresting experience. It's headphone music that rewards encapsulated ears and enclosed eyes.

Sleep are telling us they have been experimenting in the laboratory-studio on their rare strain of heavy music, turning the art of thundering stoner rock into a science. And with that fusion of the two cultures, this album delivers the monument to their craft they have long promised.

There is a sense of nostalgia throughout, with tracks such as ‘Angels Pharmacy’ and ‘Remembrance’ featuring female vocalist Zsela giving off hazy club vibes. The turn to voice, Actress’s first time, has formed a deeper sense of worldliness, the invasion of corporal sensation into his production style.

It’s an album that needs the thick-skin its title connotes to listen--you won’t emerge from it feeling joyous, but you will emerge seeing a truth that will deeply unsettle.

There are no crescendos or sections that wrestle for attention, but rather, an ever-shifting soundscape that swirls and swims like a starling murmuration. The shapes it makes in the air are often wounding, but also graceful. And like all of his work, it is devastating in the best way possible.

Science Fiction Dancehall Classics, with its blend of revamped urban dub and bizarre cybernetic aesthetics, proves the most suitable companion primer to Sherwood's own 2015 selective compilation, Sherwood At The Controls, Vol. 1: 1979-1984.

After the assimilation of the band into the mainstream rock pool with New Wave and White Crosses, their decision to make a stellar pop-punk record, judged on the quality of its hooks, is a great linear move. 'Blues is a palette cleanser that still causes a ruckus.

Their 2018 debut, Not With That Attitude, was a winning combination of bile, big hooks, and a great sense of humor and, although they didn’t need to, the band has expanded their palette on Contender and it’s paid off handsomely.

R.I.P practically begs to be handled, examined, shuffled and rotated in every direction, the better to identify each tiny grain of sand and dirt that's gone into its construction.

Take Her Up to Monto is the schizophrenic underbelly of Toys’ teary composure, and its much less interested in working through earthly lived experience than it is in traversing it.

While perhaps not as original or unpredictable as their previous monoliths, Infinite Granite is undoubtedly another epic, engrossing and engulfing piece.

Shackleton’s deep bass rumble and Six Organs’ ritual folk both echo through Jinxed By Being where together they conjure something strange and absorbing.

In a character-defying move he has left his crowbar at home and cockney references serve as little more than a backdrop for his usual lyrical capers. What glorious capers they are too.

There’s a few too many repeated melodies, and too few differing musical moods. Still, this is a reliably impressive package from a man who knows his business, and crucially still has something to say. It’s Prime Numan in his prime.

It is electronic music unencumbered by genre rules and the specificity of signification. It is at once completely familiar and pleasingly fresh.

Bright Sunny South is Amidon's sixth solo effort and like previous releases, the key to the album's potency lies in how the Brattleboro, Vermont, native creates emotional dichotomies and then bridges the expansive gulfs in between.

It’s music to seek out when some respite from all the blurred lines in this very busy world is desperately sought. In taking our hand but never gripping too tight, Holmes taps into something that even the best Late Night Tales compilations sometimes neglect: the pure self-therapy of total escapism.

Ghost On Ghost might not be definitive--Beam gives off the impression that a genuine modern classic is not yet beyond him, something a tightening of focus might help him achieve--but this is big, beautiful music all the same. That he makes it sound so effortless is all the more impressive.

Despite the apparent lack of new ideas here, the undeniable success of this work lies in Goat's deepening and development of the musical and spiritual themes presented on in World Music.

The whole record feels hauled from a dream space where you’re laid on your back letting the sky sink down to you. It’s ‘Shadow of a Doubt’ the album.

In their pursuit of experimentation, Decisive Pink have accomplished a great deal with this expansive body of work.