Where Asobi Seksu's first album seemed rushed, a little too experimental, and at times too loud, Citrus brings the right amount of noise, swirling affects, and sound balance.

Cooper made it long enough to record one last, amazingly decorated and meticulously crafted album, Immolate Yourself, with his other half, Joshua Eustis. And with this album, not only did the tandem create something special but it just may end up being the best album of their entire career.

Six extended entanglements that capture the spirit of willful experimentation and magnetic pull of melody.

Gorilla Manor consists of twelve very intricate and charming songs. The record has a sense of liveliness and reaches out to human abilities, emotions and reactions.

A series of serene and sensuous treasures rich in texture and laden with rapturous instrumental hooks.

As with Mark's other musical incarnations, whether as Red House Painters or under his own name, a fine-tuned and patient ear, and a good turn of the volume knob towards high, is required to fully appreciate the nuances of his music.

Condors, is a restless, richly-detailed amalgam of intricate, glitchy electronic ambience, guitar reverberations that range from gently acoustic to furiously rockin', and ethereal to keening female vocals that recall Kazu Makino of Blonde Redhead, Nicole Barille of mr. Gnome, and Bjork.

Although The Lost Tape might lack some consistency in places and the live material might have been better served on a separate collection, overall this is a richly rewarding treasure trove for the ever increasing number of Can fanatics across the globe to hunt down immediately and devour.

Morgan is back with Loscil's fifth album, the somber Endless Falls, his most austere and least cluttered album yet.

Those expecting an ultra-stripped-back affair will be in for a surprise too, for although the album sustains and refines Sheppard’s core penchant for pointillist minimalism, Vertical Land is also arguably his most ambitious and elaborate statement to date.

Ashes Grammar takes what they accomplished on SMCJ and attenuates it, stretching it into new shapes and sizes, avoiding a retread of their debut album by avoiding the traditions of the album form altogether.

The result is a fantastic album, almost cinematic in its scope, which sweeps the listener along and leaves them enthralled.

As eclectic as Chasny’s influences may be, there isn’t much here that would sound out of place to underground rock fans.

Whilst Craig Dermody still has some way to go in proving himself as a near-equal to his unconcealed influences, Mid Thirties Single Scene does attest that Scott & Charlene’s Wedding are about far more than a jokey band name, with some increasingly impressive staying-power. Moreover, it’s unquestionably the group’s first keeper collection.

While Organ Music Not Vibraphone Like I'd Hoped is a five-song study on what the keyboard instrument is capable of, at least it's rendered through the hands of a skillful musician, with a tenured history for delivering compelling music.

One or two of the tracks sound a bit forced in their arrangements, and I can only too easliy envisage a studio listing in which individual songs are prefixed by descriptions : (the Polka number, the Dylan number, the BRMC number, the one Tom Waits wrote, etc.) but this doesn't detract from the album, if anything it only enhances it as, with a significant part of the albums production process actually audible, and with the musicianship never less than wholly professional, it's difficult to find actual flaws in the project.

On occasions L’Aurore can feel a little overwhelming but given time its full immersion scope becomes more and more hypnotic and impressive. A bold and brave return to the fray all told.

One thing’s for sure, Wilkinson sounds entirely enjoyable on this album. Whether it’s him enjoying himself in crafting this music and/or the fact that Ambivalence Avenue sounds that much more enjoyable than its 2009 predecessor, something’s obviously working.

This album bleeds politics.

And Then You Shoot Your Cousin is as brilliantly strong as Undun, with a multi-faceted story that slowly unravels.

Das Racist takes the strengths off their mixtapes and simply take them on a new adventure with Relax.

Day & Age isn’t a masterpiece but it ends up being their most consistent album to date and it shows true promise of growth and strength in their music.

Animals in the Dark is a natural progression from Whitmore’s previous stripped-down affairs.

Throughout High Places vs. Mankind the two further unravel as well as expand their influences and open-up their compact electronic world to include more live instrumentation and more upfront organic vocals.

They put together nearly perfectly produced and arranged songs, tight and precise yet still urgent and fast.

Chock-full of catchy songs, off-kilter melodies, and A.C. Newman’s clever lyricism.

Like Serge Gainsbourg’s contrarian career as a whole, there are lot of hidden profundities and canny pleasures to decipher and uncover here. This makes Intoxicated Women a dense yet rewarding affair, which should satisfy and intrigue hardcore Mick Harvey fans and Sergeologists alike for some time.

It's an irrefutable example of boilerplate rock and roll, and it feels completely awesome.