The core elements are so big, like blasts of pure plasmic energy, that it sounds planet-sized.

It's neither particularly accessible nor a nostalgic feast for fans of 90s pop-punk. Instead, it seems like part of an as-yet-incomplete whole.

Ultimately it's The Avett Brothers' innate ability to deliver killer tunes and present them in an engaging fashion that connects them to a vintage pedigree of classic Americana artists, from Crosby, Stills & Nash and Neil Young onwards, that seduces you from track one.

RIITIIR is a complex, schizophrenic work, verging on the overly sensorial at points, leaving the listener feeling as if they've been repeatedly bashed over the head with a really clever hammer.

It transcends the boundaries and expectations of its genre--even those previously set by the very band that made it.

Polished and dependable, despite its safety there are some show-stopping pop anthems present.

Another classic of the genre is born.

King Animal undeniably draws its strength from the band's accessible Superunknown era, but also takes Soundgarden somewhere fresh.

Just to Feel Anything doesn't disappoint, although those eager for meditative meanderings might feel detached from its propulsive, purposeful tangents.

the band have still got their peers beat hands down and exhibit enough vision to have you hoping they'll transcend mere re-revivalism yet further with whatever they put out next.

A set that is rich with a sense of storytelling, sentiment and atmosphere, warm beneath its songs' occasionally chilly edges.

Terrifying yet magnificent horror from a group getting doom metal so very right.

For those hankering for the lost summer of 2012, solace could well be found in the rays of musical sunlight that burst out of every hook and melody of By Your Side.

From album to album, The Bad Plus continue to evolve and improve.

More often than not, these reinventions are successful. They won't usurp the originals, but they're not really supposed to, and some shed new light on the well-known version.

It's like these songs have had their windows cleaned, a few crows' feet ironed out.

While there are standouts, the whole is greater than its parts.

The compositions are pretty formulaic and the lyrics aren't overly technical. Still, it works for Mill as a respectable effort that exorcises personal demons and moves him beyond illicit history.

On We Don't Even Live Here he brings lyrical grit, tightly leashed rage and a general disregard for genre boundaries.

This worthwhile venture serves as a fine complementary package, not exactly pushing at the edges of its makers' own creative envelope but exploring known ground extremely well.

It's not perfect... Overall, though, this is a long overdue, welcome comeback.

A shimmering, lovely thing, this debut is also full of adventurous spirit.

[Beacon] is the mark of a band who know their sound, have a newfound confidence, and are well-equipped to do some serious damage to the chart this time around.

The outcome is impressive, and throughout he remains true to himself and his esoteric style.

Let It Break is a fine achievement, certainly, and only faulty due to some of the more by-numbers pieces within.

This is agonisingly personal music, poured straight from the heart--just as punk should be. It's a bonus that it's also frightening catchy.

This isn't a conventional album by the ordinary standards of today, but it's fantastic. Crazy Horse are the perfect band for this sort of wistful noise, carrying both Young's simple melodies and his love of stretching out with equal ease.

As methods go it can be messy, but it also throws up some interesting hybrids.