Like Tyler and Brooks, Sheppard unveils his pleasure in what he sees around us gradually, his final destination ultimately unimportant so long as the quest is enriching. This is a trip that comes seriously recommended.

Music For Drifters is another fine showcase for the prodigious talents of this Sunderland twosome.

Indeed, on both of Lost Time's pieces, Fox and Millions make good use of non-drum instruments to further their percussive investigations. And although the steadiness of 'Post Encounter Effect' threatens to make it a little tougher to sit through than the more immediate, thrilling 'Telegy/Time Lapse', its implication--a renewal of our relationship with time, wherein we find agency--arguably renders it more satisfying.

Devoid of the light and shade that had highlighted the many musical facets of the band, Led Zeppelin's seventh studio album remains a difficult album to take in a single sitting. For sure, it contains some incredible individual moments.... [Pod] A piano led instrumental dominated by the under-rated John Paul Jones and complete with some of Jimmy Page's most understated guitar playing, this is beautifully reflective music sharply at odds with what's contained on the parent album and worthy of investigation.

Though Plant and Jones kept their ears to the ground with what was happening on the musical landscape, some of the efforts on the album have dated horribly.... But there are documents of true greatness contained here.

While the first disc replicates the original album, the real meat is to be found on the remaining discs.

As ever with William Basinski, Cascade is deeply melancholic and subdued, music to embrace in the deep of a sleepless night. But it also unfurls to reveal layers of brightness that went undetected on 92982, as the increased pace of the loops blurs and breaks apart the piece's monotonous (in the best sense of the word) repetition to reveal the deep humanity at the work's core.

The composer with the Radio 6Music soul has constructed something elegant, thought-provoking and comforting that will genuinely make you wish it was October.

You'd think that a tried and tested method of the same old thing would have a shelf life that its novelty would wear off. But when the buzzsaw, ear-piercing keyboards and thumps of the drum machine hit your eardrums, all rationale is rendered futile.

This might be their most enjoyable release since 1991's Lived To Tell.

It is sparkling and wistful, and it's quite lovely.

Universes is not quite grasping the heights of the Horsehead Nebula, but the novelty of Seven's poly-genred bravura certainly leaves it reaching in that direction. If you're looking for a happy medium between well-crafted house and happy-go-lucky slur-along songs, take some direction from this man, because he does it with serious panache.

It's a work that, while being their most accessible to date, is still dense enough to reward patience and repeated listens.

It's the great triumph of this collection, one that goes beyond whether it hangs together as a body of work. In bringing together artists from around the world Shirley Inspired should help to ensure that these tales are not forgotten.

Born In The Echoes is another example of Rowlands and Simons' magic way of making machines sing.

There is no being taken on a conceptual journey, or losing yourself in these tracks. They overwhelm and punish your ears and synapses, disappearing before you get a chance to acclimatise yourself. Asymmetric guerrilla dancefloor bangers in effect.

All in all, Instrumentals 2015 is an admirable piece of work from a man who seems to take direction from few others.

With Grievances Rolo Tomassi truly have mastered the creation of such a hybrid, heightening their melodies and anthemic qualities whilst retaining their brutality and technical prowess within the contours of a finely honed album sequence.

With Homesick, Matrixxman has at last found a depth of exploration and expression that stands up to the ideas so visibly floating around the edges of his work.

It's infectious, a record and a band that don't shirk away from documenting the toil, but also offer some fight, some life and some colour in setting about taking on the challenges to cope with it.

Everything you want from Richard Thompson is right here, right now, on Still. You wont notice Jeff Tweedy all that much, which is as big a compliment as one can make of any producer.

Dark Matter/Dark Energy is the sound of a band that's acutely self-aware of its own legacy and where it fits in on the cultural landscape. Crucially, it doesn't attempt to be something that it's not and the honesty contained within is one of the album's greatest strengths.

[Fingers is] fifteen tricksy, itchy, endlessly inventive footwork belters, which do little more than uphold the finest tenets of the genre, and are perfectly laudable for that.

Not only are the concepts themselves reductive and half-baked and the lyrics risibly clumsy, but the songs appear to have been composed in less time than it actually takes to perform them.

Tundra is a techno album as contemplation, not in in the sense that it is soft or gentle (it most certainly isn't), but in the way that it allows you to plug in with your surroundings, letting the earth and sky open up around you.

Ultimately Moonbuilding 2703 BC is an immersive, imaginative journey into the unknown that, unfortunately, won't end up being the space travel concept album of the year. Public Service Broadcasting have already locked that down. Top marks for effort though.

Lantern still shows clear signs of the producer attempting to find his feet, if at times faltering.

Though Phillips' lyrics are often chilly, abounding with images of freezing water and fallow fields, there's a genuine warmth here remarkably absent of pretense or the weepy e-bow heroics that post-rock has grown so fond of.