Whether this album’s your first insight into Prison, or you’re a die-hard fan, on Downstate, the band hooks listeners in with a unique compilation of progressive stoner rock songs.

It's a work of music that seismically shifts in front of your ears. Melodies form crystalline shapes that grow, morph and solidify under a haze of generative ambience. Some of those ideas laid down on Get Lost have taken shape as an LP, designed to play through from start to finish.

An intimate collection of fireside confessionals which weave their spell on you with a slow-burning intensity, seducing the listener by stealth.

Actually, You Can might tumble headfirst into doomsday, but Deerhoof’s day of reckoning sounds just as botanical and prismatic and baroque as they proclaim.

On Late Night Endless, Pinch and Sherwood come close, but coming from two of the most influential figures working in these areas today, there's a greater expectation here that isn't always met. When it does, it shines.

Each of the tracks on The Loud Silence pointedly, yet effortlessly, foregrounds the folk-y marranzano within the otherwise calm, techno-centric sonic context that Dozzy has outlined notably on Plays Bee Mask and with his group Voices From The Lake.

The two pieces enhance and complement one another to make a combined whole. This is very much a considered and, with regards to its structure, composed body of work.

Conquistador is recognisably cut from the same artistic mindset as Earth 2 or Primitive And Deadly but is as different from them as they are from each other. Each record Carlson releases, as Earth or under his own name, seems to both evolve from and react to the previous one.

The power of Wand may not be pleasant, but its pandemic of virulent noise may well become the itch you can't scratch.

Taken on their individual merits there's nothing particularly 'wrong' with the 11 songs that form DFA 1979's long-awaited second album, but altogether there's few standout moments and the tight, self-imposed confines of DFA 1979's sound shackles them to the floor.

From the base material of improvised music made in a situation of flux, his arrangements are incredibly dense and layered, linking intricate snippets and components together perfectly.

If something’s missing, it’s in production that can’t hide ageing spread; over separate sessions, with separate moods. None of it parlays a singular vision. It’s not meant to. So although the songs often hit the spot (it’s a fuck ton more enjoyable than Teeth Dreams) it’s not a follow-up to Stay Positive.

It remains quite literally sublime--i.e. it creates a stirring sense of awe and fear in the listener, by creating an abstract representation of a facet of nature that we are right to be humbled by and terrified of: giant oceanic waves.

Slow Summits doesn't rank with the Pastels' best work, but it will subtly remind the group's committed, fanatical following of why they fell in love in the first place.

Mirror II sounds so much more sophisticated, self-assured and, dare I say, grown up.

With Weird Sister, attentiveness pays off, and rewards with deeper comprehension of what this band are about.

Not all of Spectre is quite equal to 'The Whistleblowers'. There's the occasional functional interlude--standard-issue industrial synth propulsion. But, compositionally and sonically, Spectre is intriguingly accessible.

[Government Plates] is bursting with kinetic energy and texture, and never focuses on one particular sound for overlong over its economical 36 minute run time. It's that sense of ever shifting energy and momentum that characterizes Death Grips best work and it's a relief to see it returned to.

The group has made their name by blurring the lines between genres, letting multiple ideas meld into one airy texture, and this album follows suit. But it’s in the spurts of tension, the swelling melancholy, the subtle melodies, that Monument feels its most compelling.

As much as Mess is a drive further across electronic borders Liars explored in 2012 with WIXIW, it is simultaneously a consolidation of all that has come before.

Despite the Orchestra's evident liking for full-on collective freakouts, there are hooks and melodies aplenty here that drive the group's mighty impulse to communicate.

An absorbing, immersive listening experience, Long.Live.A$AP outshines the recent full-lengths of technically more proficient rappers as well as those of strikingly safer hip-hop hitmakers.

It’s an exploratory, ebullient album from start to finish, and one that embodies the insatiable curiosity that led him to work with so many artists from so many different genres, a celebration of collective endeavour and of life itself.

[A] challenging but beautiful album.

It's tempting to assume that the box--call it psychedelic rock, acid punk or what you may--is their base of operations, but it's really not that simple. Bo Ningen will take your labels and whirl their chaotic vortex right through it, leaving splinters and eviscerated expectations in their wake.

Carpenter, Cody and Davies have united to form an extremely tight, polished and powerful piece of thematic music with the third volume of Lost Themes. With much less to focus on then a full-length feature Carpenter really elevates and draws the most out of the fewer ingredients he works with and in doing so, truly distils the essence of his craft.

In practice and the long term of most, they're hysterically fun, but perhaps easier to admire in the abstract than really adore, unless you're a 17-year-old girl or bored at a festival.

In moving away from the vestiges of full-on noise that defined his previous two albums, Luke Younger has paradoxically come up with a work that packs more punch than either.