Goat has distilled what could have so very easily become an overblown meandering jam fest into a punchy, forceful and infectious masterpiece of cosmic rock & roll – the will is palpable, nigh a trace of fat on these bleached bones.

To say this is a 'fans only' set is something of an understatement, but if you do have an interest and indeed if you can actually afford it, this is a lovingly put together and ridiculously detailed exploration of a record that has aged very well. For those whose interest is more casual the two-disc edition is well worth revisiting.

Atomic is a conceptual artwork that is overshadowed and at times overburdened by its subject matter. Yet taken in this context it holds a brutalist, otherworldly thrall all its own.

This is a record that reveals something new on each listen, a record that will secure Errors' place in the pack--part of a greater fraternity but with a formula distinctly their own.

Using just guitars, a 70s analog synth for bass, and drums (Ambarchi's first instrument), he has forged an exquisitely balanced and powerful sound whose apparent simplicity belies a multi-layered exercise in displacement and resolution.

Harris deploys silence and sound artfully and masterfully throughout Ruins. And the closer you listen, the more intimate it becomes.

Under the rule of Worden's powerful vocal these sophisticated compositions provide a gripping, melodramatic exploration of a mindset both childlike and brooding.

By fulfilling their dear friend's wishes, on Desertshore Chris Carter and Cosey Fanni Tutti have paid him a glorious, beautiful tribute that, like Nico's original album, celebrates the glowing eddies of sex and life and death.

It’s an album that is hard to categorise but its methodical beats, otherworldly production, intriguingly chaotic clashes of melody and hazy vocals all inexplicably mesh together, with Liv.e leaning further and further towards that vital point of breakthrough.

Clocking in at over 75 minutes, The Inheritors is an exhausting, complex and disorientating listen, but one that will stay with you.

It may just be Anthrax's most consistent material since Among The Living in 1987.

Her latest creative effort, Tommy on Hyperdub Records, is the darker, more mature, older sibling to Lagata, and another firm exposition of her unique and extensive vocal ability and her creative, DIY production style.

A Wonder Working Stone is the work of a songwriter at the top of his game; inspired by tradition but equally inspired to break from it, fired by collaboration and freed to follow his muse wherever it may soar, like the ptarmigans that spread their wings through several of these songs.

A bold introduction and dynamic arrangement sticks to the formula while constantly evolving and developing. The sharp production allows each instrument the space and sonic textures to open up expansive new worlds of unfolding sounds and wider influences.

All the material contained within is new, and very good. The bands are in fine form, building on their former forms.

On The House, Maine is vulnerable, honest and strong--he soars on this, his best album yet.

The church's natural reverb provides a chilling reverse-incubation to her trembling vibrato, and at times, her breath too itself is transformed into a fluttering instrument, frantically encompassing all angles of the space.

Bougaïeff’s record is toying with the same aesthetics as Nine Inch Nails, but with the dancefloor’s (and hindsight’s perspective) rather than a powerlifting miseryguts’ – and the result carries much more positivity, lifting us up and through the darkness and into the (strobe) light. ... This album is ideal for anyone who likes moving their body and counting at the same time.

Highly Deadly Black Tarantula has a strange unease to it, an air of what's almost unfinished-ness. Which is not to say that it doesn't function, successfully, as a complete whole; but much like movies made with incredibly strong first and final reels, it rather loses its direction around the midway point, necessitating commitment on the part of the listener to see the experience through.

With Play What They Like Colpitts and Man Forever have crafted something truly unique: a spiritual jazz album for agnostics.

This is Shah finding her rhythm, enjoying herself doing tongue-in-cheek domestic subversion. It's the kind of album she has long wanted to make, when not urged towards a large scale social statement, like on her Mercury-nominated Holiday Destination.

Though they are very different albums, one way that Love carries on where Through Donkey Jaw left off is that it is deeply hypnotic.

Neurosis have not reinvented extreme metal on Fires Within Fires, and at this point it seems unlikely they’ll ever again record anything as gamechanging as Enemy... or 1996’s Through Silver In Blood. These albums and others give them ample credit in the bank to merely – merely! – bust out a new record every few years, tweak their various formulae, play by their own rules and timescales, and keep on delivering the goods in punishing, end-time-preacher fashion.

The central two of the six tracks are a bit of a cruise by comparison. .. Machine-fed streaks of looping refrains and rippling electronics make for a pleasing melange, no doubt, but it’s the surrounding four tracks which really vindicate the horizon-opening technocultural paradigm which apparently informed the album’s concept.

With John Wizards, Nzaramba and Withers have arrived.

This is Svenonius with just an electric guitar, a microphone, an analogue-sounding drum machine and a tape deck, creating the rawest and most stripped-back manifestation of his singular muse to date.

Lustmord's music takes its time, but it's hard not to get absorbed into its shadowy netherworld, even if all meaning and sense in there stay resolutely out of focus.

Lux is a surprisingly rich experience that's difficult to fault. It's not the most startling record Eno's ever made, but it probably is his most successful ambient work.