It is gloss and fluff masquerading as euphoric heartbreak. It makes Savage Garden sound like Leonard Cohen.

Across the album, Csihar proves himself a top-tier metal vocalist operating between growling, shrieking, operatic wailing and other inhuman vocalisations. Necrobutcher’s presence on bass is equally notable. In a genre where the instrument is often buried, his lines remain audible and forceful, contributing to the chaos, rather than disappearing into it.

Wild Strawberries is an enjoyable record and there are some interesting moments, it's just that the overall sound sort of politely hangs in the background with not much cutting through the haze.

The result is something of a mixed bag: moments of tender and enduring beauty broken up by landfill indie pop with a French accent.

The arrangements are simple, often pretty ... but mostly they serve to support the delivery of some of Finn's most evocative and well observed lyrics.

Padding the album with ambient interstitials would be a forgivable peccadillo were the other songs seriously weighty--after all, even Kid A had 'Treefingers'--but the remaining seven tracks can themselves come off as a little half-baked.

His vision continues to be as expansive and eccentric as usual.

Trimming back their signature embellishments leaves an album that strangely is more focused sonically, but somehow aimless in intention.

As a whole Pre-Language appears a little unfulfilled--a whole lot of build up, with minimal release

TUTTI feels retrospective in the sense that Cosey Fanni Tutti doesn't introduce anything strikingly unfamiliar to her sonic palette here, with its ambient closing tracks a retread back to Time To Tell. TUTTI though is essential in that it marks Cosey Fanni Tutti as the auteur of her own sound world, as well as being a strong facilitator, artist and collaborator.

An enticing, at times uncomfortable and intoxicating record.

Overall, this is a rewarding and captivating body of work. The Waves Pt.1 is a testament to Kele Okereke’s adaptability as an artist.

As well as command of the overall mood, Lipstate always demonstrates a steely command of her influences. But these mini homages don't swamp her sound--quite the reverse.

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

This album's great strength lies in the rearguard action its brittleness mounts against kitsch accounts of authenticity.

Part of the potency in this music comes from the confusion it induces, the fascination only intensified by bewilderment. But it's extraordinarily elegant, too.

These songs will do very nicely, thanks, as reassurance that Gallagher can still deliver evocative and memorable tunes.

What all the songs on News From Nowhere have in common is a baffling, mystical elegance, both independently and, to an even greater extent, within the flow of the record.

Make no mistake, this record sounds amazing... But in choosing to stick to classic song structures rather than utilise their incredible sound technology to explore the experimental avant-garde, or to make killer dance tracks, A Place To Bury Strangers run the risk of all their songs sounding pretty much the same.

Although it feels they've truly thrown the kitchen sink and their full repertoire of synth syncopation at it this time, it's truly a thrilling and spine chilling ride, one that leaves your bones shaken to the core.

Musique de France isn’t an indiscriminate smash and grab of appropriation, it’s a wonderfully organic and experimental and occasionally psychedelic record that will take you to interesting places if you’ll let it.

Although Last Night On The Planet isn’t likely to find itself on any end of year lists, it’s a welcome addition to the Letherette oeuvre, despite being intermittently overwrought with retrospect.

It's a pretty indulgent affair (Halstead has acknowledged this) with most songs clocking in close to or exceeding the five minute mark; the last couple of tracks are disposable.

It's SMD's overstated attempt to take the listener on a journey that is the album's drawback. In the end Whorl feels overlong, and the excitement and variation of the first two thirds of the album eventually dissipates into a somnolent slog.

They don’t sound like a band trying to tap into an otherworldly and infinite negation, they sound like a band trying to recreate their early power and glory.

This is music that transcends the detached nature of its making.

Interestingly, the tracks that fail to scale the same heights as those mentioned above don't take away from the general value of Dystopia, as there is enough underlying merit to be found.

For the most part, Unpatterns is slightly sinister, stretched out, anxious, fidgety house.