Indigo Meadow is an assured, exciting piece of work.

There are no boundaries here to be broken, but there's clear indication of new-found confidence that obviously serves her well.

Melbourne is easy to listen to, but hard to make sense of.

An equally engaging sonic concept entitled Drums Between The Bells.

Like 2008's The Living And The Dead, Blood leans on judicious electric guitar solos, most often from Shahzad Ismaily, who co-produced the album, but also from Grey Gersten and, on one track, Marc Ribot.

Rhythm and Repose [is] the superb solo outing from Glen Hansard.

These 14 songs sound as wholly irresistible now as they did when they were such an essential part of a soundtrack for a now-distant decade.

If you’ve ever fantasized about Hawkwind going motorik, Rehumanizer is your dream come true.

Gone are the raucous “Whiskey River”-style jams, but in its place are an albums worth of lazy afternoon porch songs that you can’t help but love.

Ultimately, True Sadness is a confessional set of songs, revealing in many ways and vulnerable in many others. However, honesty has always been an inherent element in their sound, so in that sense this album’s no different.

New Wild Everywhere conveys a new maturity for the GLS, showcasing the assembled talents of the members, and highlights promises of even better things to come in their future.

Something this eerie has rarely sounded so enticing.

Far from sounding like lesser cast-offs, the songs here are just as worthy as anything off those earlier albums.

These songs show a band in its prime-and cast a much wider net of influences, finally shaking that garage band label, bringing in folk, country and some damn fine bar room rock.

Thomas' honesty, as much as any performance herein, is the commanding factor overall, making it easy, and in fact, all but unavoidable, to fall in love With Love.

Chain Letters is a solid album and Big Harp brilliantly adds to the growing plethora of artists crafting stark, raw music that strikes the core.

Those who loved the Del-Lords in the 1980s will be delighted, as should anybody who missed them but thinks passion, skill, and commitment are a pretty good combination in music.

The album is a holiday classic in waiting, even if you don’t own a single pair of skinny jeans and couldn’t grow a beard to save your life.

Taken in one extended listening session, Hold/Still proves titularly prophetic because you’re left exhausted from all the foregoing textural and tempo twists. One could liken the experience to ingesting a handful of lysergic tablets and then deciding to run a marathon that lasts all night. Once you’re done, you’re done for good. Hold still, kids.

Guitar player Wymond Miles plumbs deeper, existential questions on this four-song EP.

Hazed Dream is the perfect place for you to tune in and turn on.

Fennesz also instills a similar dichotomy with his score, as beautifully melancholic passages on grand piano and guitar interweave and flutter through the ether of his static-encrusted digital ambiance over 15 compositions of unsettling serenity.

What they’ve found, is pop perfection, and Fifth is a contemporary gem.

The album is not a total departure from previous work, and their admirers will be elated at this crackerjack effort and the opportunity to live music the Strange Boys way once again.

Dreams Come True will certainly appeal to anyone who enjoys their new wave artful and avant-garde, both of which are delivered in spades across this exceptional LP that will surely be lost on many Grizzly Bear fans looking for an extension of their sonic safety net.

These songs may not scan perfectly or make much objective sense, but they feel very real and relevant and uncalculated.

The production may be a little cleaner, but the same knack for great fuzzed-out ditties is still there... a pretty good album.

Hexadic is a dramatic shift for Six Organs of Admittance, lurching into noise and abstraction with hardly a nod to guitar folk or psychedelic rock.