There was always a worry that Gamel might be too self-consciously studious and challenging for its own arty sake, but as it transpires, it's an unnecessary and unfounded thought.

By embracing its influences with as much lithe confidence as it embraces the idea of endings, Woman's Hour avoid sounding derivative by making pop music that looks you in the eye. If you meet their gaze, you won't find any tears, but you will find understanding.

Rather than carry a casket loaded down with the fast-tiring tropes of the doom genre, with Foundations Of Burden Pallbearer choose to breathe thrilling new life into them.

Thrillingly, LP1 gives any record you might find us covering elsewhere on The Quietus a run for its money in terms of oddness.

It's both texturally ravishing and textually fascinating.

The World We Left Behind is, on a purely artistic level, the worst album released under the Nachtmystium banner. The major issue is that it lacks the creativity, the devilish glint, and the poisonous confidence that Judd previously injected (no pun intended) into Nachtmystium, his personal vehicle for experimentation and excess.

Throughout its ten years as a label, Hyperdub has managed to establish and uphold a reputation for consistently on-point and challenging releases that has seen it become one of the most vital UK independent labels, and the range of sounds present on 10.2 is testament to that.

They Want My Soul is focused, tight and impeccably produced. The songwriting is crisp and tight, Daniel's ear for a catchy and upbeat riff have resurfaced.

Unlike most things that labour under an impression of being overly, scarily brainy, it is anything but difficult to love Lese Majesty.

Whether acknowledging unfaithfulness, fretting over her advancing years or giddily professing undying love, Lewis creates songs and characters as compelling as they come. A couple of duds and some overzealous production aside, that is still very much the case on The Voyager.

All too often the album lacks the requisite light and shade to make for a consistently enjoyable listen.

Dissed And Dismissed is basically all gold, as long as you're not so jaded by years of inane indie chirruping that any combo of upbeat guitar melody and sad-lad lyrics induces a visceral reaction.

A tiny marvel, this record. A tiny, exquisitely-tooled marvel.

This album will certainly tick a lot of boxes for Super Furry acolytes, but for those who couldn't take to the SFA brand of avant-pop, Gulp should provide you with a nerdgasm or ten. Library electronics, jangly loftiness and enough in the way of melodies and choruses to soundtrack your summer.

It is a crystallised definition of "record collection rock".

Their arrangements are accomplished, and even the constant falsetto vocals are tempered enough to be pleasant throughout the album, but it's difficult to discern what exactly--if anything--Jungle actually stand for.

If Par Avion wasn't so clearly aiming for the cheap seats with its ideas, it would be easier to forgive its flaws and just appreciate how great these synthesisers sound, how stunningly they're utilised.

What's changed here is that the Weavers are now more than just writers of music; they are now enablers of specific atmospheres, able to handhold a listener through incredibly dense forest in very low light.

Texturally, Forgetting The Present is gorgeous, a deep field of beautiful orchestration to explore.

The very best moments of World Peace... allow a rare slip of a perpetually teenage mask. It's the revenge of Morrissey the artist over Morrissey the cartoon character, and he's caught me completely off guard, the bastard.

HEAL sounds as gorgeous as a vulnerable folk rock record, but as defiant and powerful as arena rock.

Once More 'Round The Sun's many positives are consistently seen in the best possible light.

After such an imposing start, the rest of My Love Is A Bulldozer was bound to struggle to keep the standards up, but even with this in mind, it's a confusing and muddled album.

Mantras build and collapse on themselves, choruses rise and fall, and enveloping you with a rich seam of guitar pop.

A fantastic set of songs approached with a reverence that is never stifling, and one in which fans of either act will find plenty to love.

Until Silence is as brilliant a fusion of electronics and symphonics as those Bedroom Community projects, and yet it's also a far more user-friendly one.

Neon Icon is that rare product of a rapper in the modern world--an album that perfectly encompasses everything they became loved for on their come up, amplified to the glorious maximum, aiming confidently into the future.

In moving beyond their avant-garde origins, the 'technopop' which comprises the latter half of this compilation has often been viewed as a descent into the lightweight, and a commercial sell-out. On the contrary, #7885 (Electropunk to Technopop 1978 - 1985) proves a mastery of superficially conflicting musical spaces.