Although music lovers who normally don’t appreciate experimental noise will find some things of interest here, this is really an album for people who dig material a bit more avant-garde.

As stirring as it is absorbing, Talkdemonic's music is an engaging set of blended fusion that is a solid step forward.

Like their name, Wires Under Tension's music is fraught with restlessness, and in a music industry that still generally rewards and promotes the familiar and commonplace, a little agitation might be just what we need.

Given its largely austere terrain and relatively unvaried inclines, Peace On Venus is not ultimately a Bardo Pond album that lends itself to easy traversing. However, it still confidently captures a group holding its own against latter-day and more voguish heavy-psychedelic peddlers.

Big World can be counted on to deliver a handful of jangly ditties and ho-hum, dreary interludes that don’t demand much from the listener beyond a slow drag on a cigarette while it spins in the background.

Delirium Tremens holds many enjoyably solid, if occasionally thorny, rewards.

Where The Messengers Meet might be the best MSHVB can do with their current MO, it's a remarkably compact album of emotionally-swollen, disillusioned folk rock -but you get the feeling that the band might be on the precipice of something much more titanic.

There might be a few lost moments where the music stagnates from a lack of true skill where neither member of the pair does much but they come in sparring moments. And for the most part, the songs are too direct to even truly analyze them as anything more than lifting, carefree music.

This album sounded exactly as I imagined it would, sounding pumped in straight from a dingy practice space from the early 80’s. It’s just that the music sounds more in service to the post-punk ideal than to the individual songs, affecting a feeling of taking a wild trip through a style instead of offering memorable individual experiences.

Nothing about the five originals and two covers here makes them come across like B-sides or throwaways.

Whether there's enough energy, fraternity and songs left in the GBV tank to warrant more new material on top of this year's LP trilogy remains to be heard but this solidly-built long-player successfully marks the end of an unquestionably enjoyable and productive year in the band's admirably contrarian career.

This could be a rare Giant Sand LP that manages to be both sophisticated and sprawling. Overall, Tucson is destined to be labelled as a 'must-keep' for those struggling to house their vast Giant Howe collections.

Whilst again, as with its immediate aforementioned predecessors, there is a nagging feeling across One For The Ghost that Pete Astor could be still digging deeper into his cupboard of less conventional musical arrangements, there remains a good helping of charming and curious songs that invite return visits and slack-cutting forgiveness.

DOOM isn’t really offering you anything new, and it’s got some clunkers like 'Operation: Doomsday' and 'MM...Food' before that. This album is, however, a reaffirmation of DOOM’s talent as both a rapper and a producer.

America Give Up is a fantastically-promising debut album full of charm and potential. So, until the Strokes release their next masterpiece or pack it in altogether, enjoy this bunch of upbeat, tousle-haired tunes.

Life Has Not Finished With Me Yet may not be the most instantly-gripping Piano Magic LP, however when granted some mandatory immersive listening its enveloping and eclectic embrace is hard to resist.

Wincing The Night Away has enough dreamy, jangly and melodic indie-pop that almost lives up to the hype and will leave swirling, seraphic sensations playing inside your head.

Ultimately, for a more cohesive and less exhausting listen, the most accessible parts of Dead could have been crunched-down into a more easily-digestible mini-album.

Although Volume 2: 1987-1989 may have its fair share of misfires, its overall hit-rate is remarkably high for an exhaustive anthology drawn from the ‘80s DIY netherworld. Whilst it’s hard to say if it fully represents the best of the Half Japanese oeuvre, it’s certainly an unquestionable strong entry-point into the band’s uncompromising catalogue of charming invention.

Whilst there has been a little external redecoration, many core elements remain in the band’s unchangeable centre of gravity.

Taken as a whole, this endearingly strange collection should force casual-listeners to appreciate the importance of the album as a convoluted, contrary and eternally charismatic art form, which can still be defended by even the most work-shy of songsmiths.

All in all, El Camino sticks to a tried and true template of brazen impulsivity that's been explored by generations of rock bands.

If you acquiesce to its pacing and delivery it’s chantlike mix of chill and warmth can be a springboard to your own thoughts. If you’re not so inclined, I imagine that it would be like a Chinese water torture.

Cobra Juicy employs a richly flourished amount of instruments and sounds that are catchy and full of life.

Smart Flesh won't grab you with big hooks or infectious grooves, but listen long enough, and it'll sink its teeth right in to you.

This is the stuff of Hollywood film soundtracks, and Gahan's robust baritone is a perfect fit for the proceedings.

Taken as a whole though, whilst Jane Weaver may not have delivered quite the revelation hoped for, this is a solid enough self-consolidating affair, that should both keep the faithful happy and ensnare more latecomers.

Whilst it might miss its prequel’s sublime rootedness, the album’s alluring and questing life-force confirms that Cécile Schott is a thoughtful artisan to keep closely watching over a long-haul creative journey.