It's business as usual for the Wedding Present, but in the best possible way.

A modest five-song EP, from its pared-down arrangements to its monochromatic album cover, Silent Hour/Golden Mile is a surprisingly cohesive release that begs for repeat spins.

Airy, vaguely psychedelic and meaningful, Beyond the Times is a gorgeous exhibition from a thoughtful, voracious artist relishing a whole new outlet.

New Multitudes shows, just as Mermaid Avenue did in 1998, that Woody Guthrie's work remains a living entity with a limitless capacity to inspire.

Willner is clearly letting his time in Germany shape his sound, which isn't a bad thing and it's nice to see another, mellower side to his work.

The band are more interesting when they expand their sound.

The truth is Trust are masters of delivery and flawless executioners, proving to be much better mechanics than designers.

Open Your Heart's greatest triumph is its ability to hearken back without feeling retro.

The album's ten dirty bass, hydraulically placed rhythms come off like a more focused, implicit version of the Minnesota-born laptopper's previous work.

Cursive have delivered a highly stylized album with a vivid conceptual storyline that keeps old fans listening while giving new listeners a chance to experience the progression the band have experienced over the last decade.

Though the stouter vocals have given the band more confidence for moments of melodic bombast, occasionally they sound out of place.

Straightforward and simple, A Eulogy for the Damned isn't a work of great musical genius, but is refreshing in its bravado and simplicity.

A lack of variation in tempos and tones gives a sense of redundancy, yet the pace of the album, with all of its gosh-darn hooks, carries it through to the end.

A marriage of vocal house, disco and pop, it's an immediately accessible album with several decent dance floor stompers.

Reign of Terror builds on the success of Treats without breaking from it, establishing Krauss and Miller as masters of their craft.

With their traditional sound mixing well with some new elements, Utilitarian marks the next chapter in Napalm Death's impressive career.

There's no doubt the songwriting is there--but the LP's best tracks ("All Our Wonder" and Old Haunts") share the lo-fi production that was a boon to the atmospheric beauty of their EP.

This is a release worth snapping up on vinyl when it finally comes out.

As songs pulse and glow bright in the most dynamic of ways, it's almost bittersweet to see Mouse on Mars sounding so comfortable delivering house music, losing a bit of their identity with each passing beat.

Temple Beautiful is the sound of a mature rock'n'roller continuing to reach for new heights.

Personality comes off as expert techno done in a peculiarly conservative manner, an unadorned but sturdy tugboat floating amongst dubstep's rising tsunami.

To the casual listener, it may sound like a shadow of their greatest work, but fans will find it rewarding.

For a stopgap collaboration, Underrated Silence sits comfortably with some of Schnauss's best work.

The music contains all of the trembling beauty fans have come to expect from Alcest, combined with a sense of vitality and wanderlust.

The record is their most musically ambitious to date, while still maintaining the unrelenting, thrash-influenced Southern heavy metal they do best.

With a fine balance of clean singing between Scabbia and Ferro, atop the technicality of strings and beats, there's something for everyone.

Never in recorded history has there been an album of such audible variety, distinctive fidelity and lyrical intensity.

It's a raucous, vibrant, but well structured musical approach that brings along recognized artists (like current lead singer Corey Glover and local rap legends Mystikal and Mannie Fresh) for the ride.

The profound sadness imbued in Mr. M, something that hasn't necessarily been as apparent on previous Lambchop albums, lends a consistency that produces a satisfying meditative effect.

It's clear that White's bravery in baring his soul has resulted in a quiet masterpiece.

Plumb is a rich, complex album, with the songs spilling over into each other.

It's unburdened by obligatory connections to what's come before and as a result, has a renewed amount of energy.

The fact that it's both artistically bugged out and immediately rewarding is just the icing on the cake.

Sinéad O'Connor's eighth full-length album, and her first in five years, is a revelation.

On their new full-length, much-anticipated Epitaph debut On The Impossible Past, they exceed expectations once again.

It's a wide landscape that Tindersticks illuminate with a palette of both vivid and muted colours.

Though not the punchy, great leap forward it could have been, Rose finally proves that she's far more than just a part of her former groups.

Windy & Carl deliver yet another significant and sublime release that's perfect for late night listening.

This record collects the works of Austrian composer Franz Schubert and morphs them into a gloomy meditation on the sure, comforting absurdity of existence.

Their brand of quirky indie pop runs throughout, but the slower numbers are as effective as the upbeat tunes.

Far from essential, Hotel Sessions is a glimpse of a once great songwriter in mid-process.

They're still more than capable of cranking up the guitars and making the kind of caustic, spiky noise that's been their trademark for more than 30 years, especially live.

Reenergizing the band after a lackluster sophomore effort, the move [of switching guitars for synthesizers] has led to an atmospheric, assured and largely compelling record.

Six Cups is a "fun" record, sounding less serious in melody and experimentation than Lindstrøm's previous work, but it was undoubtedly crafted with the intentions of being taken equally seriously

Though a touch disjointed, at times, The Search Engine is a trip.