Refreshingly repetitive. We love you too, Bear In Heaven.

A strange, interesting, occasionally brilliant album.

These are songs that flinch as much as they fight, that veer wildly into strange territories but never overindulge and that, essentially, draw all of the best bits from Coxon's weird and wonderful arsenal into one inimitable package.

There's value in finding their [remixers] take on Nick Cave's already unique sound.

These are tracks made for the pub, to be bawled to with beating hearts and swollen lungs. Get involved.

It may be a skip away from the processes they know best but, in 'In Time To Voices', Blood Red Shoes find fresh invention.

Provides far more ecstasy than agony.

Their narratives have been stronger before, but 'Noctourniquet' remains abject absurdity masquerading as sexy heroism.

A coy, slow burner, it doesn't kick off properly until its latter stages.

An accomplished, repeatable debut.

Saxophone solos! Samples that may or may not be from the Sugarhill Gang! The EastEnders theme tune sung in the style of Boyz II Men!

A who's who of re-mixers have been cast for the job, and there's value in finding their take on Nick Cave's already unique sound.

Expansive, orchestral and delicate, its beauty [the band's music] is totally deserving of another round of critical acclaim.

A refreshingly innovative take on the decade [the 80's], and though it occasionally lacks a little heart, 'Interstellar' at least pushes Rose's talents in an impressive and unexpected direction.

Most of the tracks are about as blank and sterile as an airport terminal.

'Port Of Morrow' is a glorious and confident return, even if it lacks a little darkness at times.

Spoek Mathambo's mixture of rapid rhymes and genre-melding combining thrillingly.

Sadly, Siberia is lacking any genuine spark.

The Jezabels are so nearly there on 'Prisoner'– they just to focus.

To say Michael Kiwanuka's debut is not the most modern-sounding album would be an elephant-sized understatement.

[An] intense, skeletal, and actually-rather-dreary debut.

[Zoo will piss you off if you think] their Fugaziish formative albums are sacrosanct and that any deviation voids them in the eyes of The Living Christ Our Lord Henry Rollins. Two, you hate loud noises.

'Visions' is a cornucopia of Claire Boucher's most vivid waking dreams. Gripping, then, but also as intangible as the prevailing dread of a forgotten nightmare.

While Dry The River stick resolutely--and somewhat predictably--to their 'start quiet, build to a stomping ending' mantra throughout, Shallow Bed is an uplifting debut.

The Clearing is a subtle, expansive work.

The tenth Magnetic Fields album sees Stephin Merrit returning to both form and familiar territory.

Truly special.

Both bewitching and berserk, Featherbrain keeps its creator comfortably in the shadows.