In A Dream is certainly not going to alienate those who adored The Future Will Come, yet it should be said there are notable points of evolution--most importantly Whang's prominence and the diversity of Maclean's songwriting. But it is difficult to place this above The Future Will Come, as despite the brilliance that Whang radiates throughout, there are up to three songs that sap momentum with their lack of vim.

Whilst Sun Ra's enormous back catalogue will always mean that certain aspects of his music may be deemed unrepresented on any given compilation, this collection has huge appeal for both newcomers and obsessive fans alike.

As ever with Yorke's solo work, it's at its best when the loveable tyke is going with the flow instead of deliberately trying to sabotage his own ear for melody, or trying to bugger up a voice that should just make peace with the fact it's quite pretty.

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.

Way Out Weather's lines and contours are beautifully rendered. But there are times when Gunn's songs don't benefit from the extra exposure, when one misses Time Off's murkier, more forgiving production.

Moreso than 2011's Tomorrow's World, The Violet Flame is an accessible blessing for longtime fans and curious newcomers alike.

Our Love isn't an explosion of delight so much as it is an affirmation of the moment, in many different forms.

Time To Die is not perfect, but it's a nastier, hungrier album that stands with their best work.

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.

The result is a beautifully eerie song cycle whose pulsing analogue heart is even darker than the penumbral territories the band usually inhabit.

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.

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.

Fans of the band will find a lot to applaud on Dude Incredible and it's one of their more efficient, immediate LPs.

This is not his best record. It's about sixth or seventh. But it's still a triumph of sorts--a curious, meandering journey that needs to be made a good few times.

It's not wholly convincing, but underneath it all, the melodies sound nostalgic, and enlightened--a contrarian whiplash reaction only a band like Interpol could get away with.

Primitive And Deadly is imbued with an energy of its own: a bold, if flawed update on the Earth model.

What they're doing with their new wave affectations and post-punk sheen is absolutely creative and often subversive.

Gainsborough seems to be testing not only what his crude instrumentation can withstand, but also his listeners. For all the physical exertion though, the album sounds surprisingly sexless and apathetic at times.

A New Nature does retain elements of the brooding intelligent gothic pop of their earlier work but this time around, Esben And The Witch's predilection for post and progressive rock is thrust to the fore.

It is largely an album that, despite finding acmes in doing what Rustie does best, has more troughs than peaks, and lacks the impish, distinctive touches that made Glass Swords such a striking listen.

Crush Songs certainly has the consistency of intention to draw in new listeners, but for those who love the pace and grittiness of Yeah Yeah Yeahs, the end result might leave them crushing hard for the band's next record and the indefatigable side of Karen O.

Despite the apparent lack of new ideas here, the undeniable success of this work lies in Goat's deepening and development of the musical and spiritual themes presented on in World Music.

Fans of Nick's previous work should feel right at home; it's livelier and more overtly catchy than anything in his catalogue, but at its core, much of Anchor is a refinement of the things he's done well in the past.

Even the most hardcore of Yes fans may forget that this exists in a couple months.

Wand's resultant mixture of the frenetic and the smooth is intoxicating.

An album that's otherwise remarkably deft at uniting the many aspects of Kevin Martin's musical output to date.

Robyn Hitchcock's latest release, The Man Upstairs, stands amongst his all-time best albums. His finest work in years, the opening three songs are stunning, mesmerising even, in their intimate beauty.

If we were picking holes here, you might gently suggest Tied To A Star is not altogether captivating, but for serious fans of J Mascis' acoustic incline--it does deliver. His lack of clear narrative, comically dull song titles like 'And Then', 'Drifter', 'Heal The Star' and 'Come Down', still leaves J Mascis as something of a stranger to us.