This album falls victim to the more-is-more syndrome. It douses otherwise stronger and more distinctive songs in far more reverb and echo than it needs.

Multi-Task doesn’t rock the boat too much; if anything it is more streamlined, less abrasive, ready to be swallowed whole.

It's impressively focussed and musically adventurous, stirring elements of goth, post-punk, neo-folk and avant-noise into some perplexing shapes.

Each track is executed to perfection as Santi morphs with chameleonic pizzazz.

Ultimately, Aventine is a triumph of carefully sustained mood; of a sadness that is not so much overbearing as it beautiful, and one that lingers in the silences between listens of this unusual, unusually compelling record.

Now everything is dark and obscure, ghostly, as if moving in slow motion, bursting here and there in a few powerful and desperate explosions, mainly when Soko and Argento get to sing.

Unlike the cohesiveness of earlier releases, Echtzeit has the feel of a compendium of sketches playing upon inherent strengths within Roedelius's considerable back catalogue. However, what it lacks in experiential probing is made up for by the simple fact of Echtzeit being a nice place to dwell and linger.

It's an enjoyable, occasionally frustrating ride, and one that takes a few listens to sink in, even if its just to unburden yourself of your expectations.

Light Divide is difficult to find one's way into--it's not welcoming, and it's not unwelcoming enough to announce itself with a metal or noise record's sense of authority.

What could and should have been a coolly assured olympic plunge is instead a remarkably ungainly near-belly-flop of an album, weirdly devoid of the dense musicality, crooked charm and sheer kinetic potency which characterise Ghersi's works to date. ... The problem with KiCk i's particular brand of spontaneity is that it feels procedural and expository, rather than organic. It can seem, when the smoke clears here and there, a bit hollow.

What These New Puritans offer with Inside The Rose is something rich, deep and warm, constantly shifting, challenging. This is art for the head, for the heart, for the soul.

Valtari is by no means a bad record; it's extremely easy to enjoy. It's even beautiful at times. Unfortunately, it's even easier to forget.

There are just too many occasions where Malkmus' tone bypasses droll, flies directly over kitsch, and lands way out in the rough with no hope of ever retrieving the ball.

There's something exhausting about this manic exuberance, too. All rush and almost no plateau, it's so fidgety and full of swarming textures that it wears you down.

Fashion Week is the most vibrant and least menacing collection of tracks Death Grips have released.

Two sounds like Owls really ought to in 2014--as melancholic and complex as they've always been whilst expanding their sound as a second album should.

Luminous is a great record, but it's an awkward bugger at times, and I suspect that in the long run the album will prove all the more rewarding for just that reason.

Hippo Lite is somehow softer, more palatable, indeed liter than DRINKS’s previous output, but not at the expense of the punchy attitude, the sense of humour, which has made them so captivating from the beginning.

The fractured fairy tales of their full-length debut Lady Parts will assuredly satisfy both those old Prefuse 73 fans and newer listeners who enjoy a sensible amount of weirdness in their mixes.

It is left to the listener to piece through these lyrical asides to find meanings of his or her own rather being led by the nose, which only makes Ancestor Boy all the more thrilling, especially when its driven by such an effective, powerful production.

Clockwork Angels is an extremely accomplished piece of music composed and performed absolutely flawlessly.

If nothing else, this album is a guitar fetishist's dream, and sounds like it was a joy to make, too.

Numan's appropriation of Arabic musical patterns, textures and instruments can make for mildly uncomfortable listening at first, but on repeated plays these are the moments that really stand out. His decision to directly incorporate these less familiar (to the western ear) musical mores into his already alien-sounding style pays off.

While space rock might never be considered high art, when it begets nine tracks as riveting and white-hot as those on Shape Shift there's little you can do but submit.

These very personal surges of sound swell in the ether, seeking out like-minded listeners. His “Audio Virus” – a collection of electronic hardware items that range from the esoteric to the obsolete – purrs like a living being. The hums and crackles it emits, a constant feature as one track slides into the next. Whilst that sounds cold and machine-like, the lunges of notes often reach heart-wrenching heights.

Whether due to Gurnsey and Void’s developing rapport, or the honing of their collective sound, 25 25 packs the immense sort of punch that descriptions of their live shows recount.

What this amounts to is a collection that’s a good way in to the work of a songwriter whose output is three decades strong and a welcome addition to Tweedy’s discography in its own right.