At times of course, as with other Zedek Band releases, a little more space would have let the recordings feel a little less austere and more melodically-open. On the whole though, Fighting Season is a rousing call for gritty humanity.

Overall, there is a very cloud-like vibe, reticent of stammering into a mysterious blend of genres.

All in all, Foreign Body is a very rewarding and promising collaboration for fans of the more emotive side of droning ambient music.

While this most recent release does not equal the shimmering weight of Bows and Arrows, it has more than enough potency to stand on its own.

Nothing is Real is an eleven-song effort that showcases Crystal Antlers with a tighter outfit and in turn, a tighter release.

His most complete album to date, Chad Van Gaalen's Soft Airplane carries aisles of contradictions through turbulence and diffused sunlight. Here, the talented artist plays to his strengths.

This small grievance aside, Getting Paid is sure to delight not only the Mars Volta fans out there, but also anyone with a passing fancy for artists ranging from Geddy Lee to Jack White.

Abe Vigoda is not quite up to the level of a band like No Age, but if this EP is any indication, they do have the potential to hone and fine-tune their sound. Reviver would be a great introduction for a potential listener, and fans of post-rock will probably find a lot to like with Abe Vigoda.

A solid – albeit unadventurous - long-player, which refines instead of redefines and consolidates more than it innovates.

Even without a surplus of terrific songs to launch the affair into orbit, the band still knows perfectly well how to lock into each other and stay that way.

So there we have it, more of the recent same and sufficiently good enough to keep the good ship GBV sailing onwards. However, a little more variety and a few more Tobin Sprout songs next time around would certainly help to prevent any risk of drifting into more ponderous waters.

As is to be expected in any collaboration of this type, there are a lot of good ideas to be found, and it’s worth hearing, even with a few missteps.

Like the band’s 2012’s Tucson LP, Heartbreak Pass is perhaps a tad too long to digest easily in one sitting. Yet its warmth, scope and consistency makes for an album that defiantly and enjoyably belies the age of Howe Gelb and his most-loved brand.

While Embryonic shares with Brew many of the spontaneous bursts of chaos that made that album such a jarring listen, you can rest assured that this beautiful mess was--thanks to Coyne and his admitted control issues--a very calculated affair.

Whilst the modus operandi suggests something rather derivative, somehow the album achieves more than fan-boy indulgence; managing to be stylish and atmospheric without being too slick or insubstantial.

Whereas the past experiences showcased Holland much more embellished and free-wheeling with his flow, Hello Cruel World places a focus on the lyrical content with a flow that ends up being much easier to follow and in turn, far more accessible.

Whilst the overall the artistic advancement is decidedly impressive for such a fledgling talent, Marling does at times sell herself a little short on the lyrical and vocal front.

These aren't the most outlandish songs but they also aren't the most invasive either; it's all about how much you're willing to let go and enjoy pop music in one of its most honest states. And even if it doesn't move you, Animal Feelings will definitely have you grooving and shaking for quite some time.

Woodsman are at the very least an inventive group of musicians, but the balance between their songwriting abilities and their wilder excursions into improvised sound isn't quite equal, although this creates its own dynamic throughout the album.

It’s definitely not album of the year (nor would it have nabbed that distinction in 2007 when it was actually released on the other side of the Atlantic), but the Shortwave Set bring just enough innovation with them to make this 45 minute disc worth your while.

The band's style has clearly altered, but the transition is graceful, making Engine Down another enjoyable release.

It’s the best batch of songs he’s had in a while.

Everything about Staring At The X is tightly controlled and composed, from its guitar chords through its electronic bass lines right up to the mixing board pyrotechnics that propel the songs forward.

By the end of the album, you're likely to forget that the band band has been tagged as stoner rock, because there's a lot more than that going on here.

Interstellar may not be the most enterprising album released this year, but there won't likely be another one that so cogently captures the celestial side of an era [the 80's] known for its excesses.

Much popier than the band’s previous efforts, this is a fun album with catchy beats, cool guitars and a lo-fi sound.

Relatively minor misdemeanours aside though, 1,000 Years is a respectable and rejuvenated return to the fray for Corin Tucker's febrile talents.

A refreshingly new take on classic indie guitar rock.