Popular Music > Previous Staff Picks

Bwati Kono : "in the club", Lobi Traore.
In Mali's capital Bamako, fantastic guitarist and singer Lobi Traore established his original sound by mixing bambara rhythm (traditional West African rhythm) with groovy blues sound. His 1994 album Bamako, which was produced by Ali Farka Toure, earned critical acclaims, but he is largely unknown outside Africa as he just stays in his city and plays at the local night clubs. Ali Farka Toure is often described as Mali's John Lee Hooker, and for Traore it could be Jimi Hendrix. This live recording (no audience) with his amazing backing band captures some finest moments of his electric blues with West African flavours. His guitar play, with which fuzzbox and flanger pedals are effectively used, is outstanding and creates tremendous earthy grooves. The band, in particular bassist Lamine Soumano, collaborate closely with Traore to create the grove. It's loose but tight, and leads you into a trance state. Lobi Traore suddenly died in 2010 and this is what he left for us. What a shame we cannot have more. (Shinji)

Darkness on the edge of town [deluxe ed.], Bruce Springsteen.
One of last year's best re-issues, 'Darkness' is Springsteen's best album, and probably also the album that even people who hate Springsteen can stand listening to. Gone is the Spector-ish street stories that typified the previous album, 'Born To Run', replaced instead with the themes & characters that would define his work for years to come: small time losers trapped in cyclic patterns & the struggle for redemption. The lawsuit with his management prevented him recording for 3 years after 'Born To Run', and the wealth of that material is gathered together officially in the 2-CD set 'The Promise' (also released separately). It runs the full musical spectrum from lush Brill-building 3 minute pop songs, to the more darker hued sound that would find fruition on the 'Darkness' album. It may be somewhat disingenuous to label this a 'vault' reissue of these 70's tracks, as significant tinkering & overdubbing has been added to more than one track, but it's none-the-less a great collection - a kind of addendum to his 'Tracks' Box Set of outtakes. The re-issue package also includes 3 DVDs: a documentary on the making of the album with plenty of archival studio & performance footage, a complete 2009 live performance of the 'Darkness' album, and a final DVD of a complete 3 hour 1978 concert from the band. (Mark)

Swansongs, Chocolate Genius Incorporated.
Musicians' musician Mark Anthony Thompson (aka Chocolate Genius Inc.) has been a unique figure in New York downtown music scene, and admired by prominent, forward thinking musicians including Meshell Ndegeocello, Marc Ribot, and even Philip Glass. He is not a conventional musician, and in recent years he has extended his musical expressions by engaging in soundtracks for movies (American Splendor etc.) and theatres, and also joining Bruce Springsteen's Seeger Session Tour. This new album shows his unusual style of song writing and ability to draw a variety of musical elements into his music. With experimental soundscapes, which has elements of jazz, blues, soul and indie rock, he crafts confessional songs of regret, sorrow and farewell. They are still but intense, sombre but powerful. You may recall introspective singer songwriters such as Chris Whitley or Mark Eitzel, but his sound creation is more complex and multi-layered. A dark requiem by the unique elegiac singer. (Shinji)

Chico de oro, Chico Trujillo.
Hyper, kinetic, punchy, brassy songs from 'Chile's most prominent Cumbia band.' Chico Trujillo started out as a Ska band ten or so years ago and there is that frenetic, just-in-control sense at the heart of their songs. Expect whoops, cheers, exaltations, dancing, singing, crazy noises, parties... Their Barbes records homepage is spot on - 'Cumbia or die!' (Monty)

Northern lights, Mike Mainieri.
New York's veteran vibraphonist Mike Mainieri is probably best known for leading a jazz fusion group Step Ahead which included Michael Brecker and Eddie Gomez as members. He often explores new waters if not experimental, and for this project he employed some outstanding Scandinavian nu jazz talents such as the trumpeter Nils Petter Molvaer, the keyboardist Bugge Wesseltoft and the programming/sampling guru Jan Bang. He cleverly takes their nu Jazz feelings and less is more approach, and presents a marvellous ambient fusion jazz that carries you to a beautiful night beneath the northern light. This could be a smooth jazz for new generation. Also, Mainieri's latest album Crescent, which is a collaboration with the alto saxophone legend Charlie Mariano who died after this recording, is worth checking out. Mariano's health was in rather bad state during the recording, but two maestros develop low-keyed but rich conversations. (Shinji)

Move like this, Cars.
A reunion of 80's new-wave band 'The Cars' - who hadn't recorded together since 1987 - seemed an unlikely prospect for many years due to the disinterest of lead singer Ric Ocasek. But 2011 is probably a better time than ever before, with a whole new generation of bands aping The Cars synthy New-Wave pop - even if they don't realise it... Unfortunately, along the way, original bassist & notable vocalist Benjamin Orr (i.e 'Drive' from 'Heartbeat City') passed away from cancer, so it's only the surviving quartet that plays on the Jacknife Lee produced 'Move Like This'. While this means that there are a couple of songs that would have sounded better with Orr taking the vocals, it still feels like a genuine Cars album, rather than an Ocasek solo effort, full of the distinctive pop that characterised their best albums. (Mark)

I can't keep secrets, Eva Prowse.
An album I've really been enjoying recently is I Can't Keep Secrets by Eva Prowse. Her voice is so emotive and the music full of beautiful instruments (guitar, mandolin, violin) is a wonderful combination of indie-folk. The entire album is really melodic and calming, I could listen to it over and over again. (Theresa)

An accumulation of subtleties ; Live at the Sound Lounge, Mike Nock.
Jazz pianist Mike Nock is undoubtedly one of the greatest musicians New Zealand has ever produced. In 2010, he celebrated his 50 years career, and his first ever biography Serious fun : the life and music of Mike Nock was published. This delightful album by his new trio, which contains spontaneously improvised studio recording and relaxed yet intense live performance, was also issued from his own label. Starting with traditional jazz and once a pioneer of jazz-rock sound, he is a hugely versatile pianist. Having young talented side men, this album proves that he is still the top in business and displays his challenging style of improvisation. He has made a number of great recordings in his long career but this should be one of the most rewarding ones. What's more, he clearly enjoys live playing and the occasions. A wonderful gift from the man who knows how to savour the life. (Shinji)

Wasting light, Foo Fighters.
After an overblown double album, and the fairly forgettable 'Echoes, silence, patience & grace' the Foo Fighters seemed bogged down a bit. 'Wasting Light', however, is a welcome return to form. Guitarist Pat Smear returns to the fold and the album on the whole returns to the sound of their best previous work, 1997's 'The colour and the shape'. Helmed by Butch Vig, there are plenty of big melodic guitar riffs, anthemic choruses, and stately ballads. No one does the kind of summer anthem/un-apologetic Stadium Rock like the Foo Fighters are capable of at their best, and 'Wasting Light' shows it still works because Dave Grohl still believes it matters. (Mark)

The king of limbs, Radiohead.
I have been listening to the latest from Radiohead, 'King of Limbs'. Beautifully ambient and intelligent songs and I can never get enough of Thom Yorke's voice. My only complaint is that it's too short! Another half a dozen songs wouldn't have been overdoing it. (Ellie)

Continental [deluxe edition], Saint Etienne.
Always an incredibly prolific band, Saint Etienne's album output was always complemented by various EP's, singles, collaborations & other odds & ends. All of which makes the current re-issue programme of their back catalogue far more interesting than the average 'Deluxe' re-issues that cobble together the odd B-Side & live tracks. The original disc of 'Continental' was a Japanese only compilation of Saint Etienne's non-album singles, cover versions and new material that was recorded in 1996-97 in between working on other projects. The reissue adds another disc of rarities, EP tracks, demos & unreleased tracks - a couple of which would end up reworked for lead singer Sarah Cracknell's great solo CD 'Lipslide'. While never deviating much from the 'formula' of their sound - 60's influenced pop, dance floor rhythms and ambient atmospherics - they still manage to find untapped veins of rich & melancholy pop. (Mark)

III/IV, Ryan Adams.
The notoriously prolific Adams had been quiet for a while now, but 'III/IV' isn't actually new material but rather a double album recorded with backing band 'The Cardinals' in 2007 but never released. Fortunately the somewhat tedious & rote 'country-rock' sound that bogged down 2007's 'Follow the lights' & 2008's 'Cardinology' is gone, replaced by the sprawling 'rock' of previous Adams albums such as 'Love is Hell' & 'Rock n Roll', which were essentially tributes to that 'Left Of the Dial' underground sound of the mid-late 80's. While it never rises to the best of Adams past work it's all still consistently good and, perhaps because Adams no longer seems to be trying so hard, a surprisingly enjoyable listen. (Mark).

Chapters and phases : the complete albums, 1973-1975, Blo.
Two albums on the one disc - Chapter One and Phase II - from Nigerian psychedelic adventurers Blo, demonstrate their brew of funk, traditional West African rhythms and wild freakout guitar. Highly recommended. (Neil).

Shadows, Teenage Fanclub.
The bad news is that Teenage Fanclub seem to have settled into a solid 'album every 5 years' pattern, the good news is that 'Shadows' is a better album than the patchy 'Howdy' from 2000 & the decidedly prosaic 'Man-Made' from 2005. The Fanclub have slowed down a bit, as befitting men now in their mid-late forties, & their later albums tend to have a more pastoral feel, referencing 'The Byrds' & 'The Beach Boys' instead of earlier influences like 'Big Star'. The song-writing is a bit better this time around, and it definitely grows after a few listens. (Mark).

Silent movies, Marc Ribot.
Guitarist Ribot has been a sideman with Tom Waits and Elvis Costello among many others. Stylistically he's all over the place but this set presents a quieter side to him than some of his other works have. Performed entirely on acoustic guitar, some of this music was written for film and some of it was written for projects which didn't get off the ground for various reasons. It's one of those albums which on first listen it may seem like there's not much going on, but after a couple of listens the compositions really become memorable and haunting. Two of the standout tracks would be "The kid" which he wrote to accompany the Charlie Chaplin film of the same name, which has a really bitter-sweet quality to it and, a version of a song performed by Edith Piaf called "Sous le ciel de Paris". (Robert).

Everything is fire, Ulcerate.
Best Kiwi metal album ever. Unbridled, unhinged, unsurpassable brilliance. (Craig).

If I had a hi-fi, Nada surf.
With very few exceptions, cover albums generally tend to suck, the 'time to pay tribute to your influences' generally smacks of creative stagnation & contractual fillers. However there are some exceptions to this rule & 'If I had a hi-fi' is one of them. 'Nada Surf' take a disparate set of songs - some familiar like Kate Bush's 'Love & Anger' & Depeche Mode's 'Enjoy The Silence', but most pretty obscure - and recast them as if they were Nada Surf songs, while still managing not to water down or obscure the emotional integrity of the originals. Nicely done. (Mark).

Cordes et ame, Emeline Michel.
Haiti's diva Emeline Michel has stellar 20 years career and is undoubtedly a leading singer and songwriter, performer and producer of her nation. Her soothing but powerful voice is always the feature of her music and it's strongly presented in this her 6th album. In this lyrical album (the title means "Strings and Soul"), there are layers of Cuba, Latin, jazz, Brazil etc. but Michel successfully colours them by her own Caribbean taste. Her naïve soulful vocal style may remind you the likes of Angelique Kidjo or Zap Mama of her early days, but is more gospel influenced and somehow untouched. I hope she will put out her new album in the very near future to empower the struggling nation. (Shinji).

Celeste, Soundcarriers.
Keyboard-driven, phased soundscapes with dreamy sixties harmonies, this album is a close relative of Stereolab's sound, with a similar retro-futuristic, other-worldly atmosphere. The Soundcarriers, from England's Midlands, are a band to watch out for. (Neil).

Release Me, The Like.
All girl band The Like's 2006 debut album 'Are you thinking what I'm thinking?' was a solid, though somewhat generic, slice of pop/punk, which probably garnered more attention from the fact that's all its members were the daughters of music executives/producers/musicians. After taking some time off the group returns with a couple of new members, and veers more into retro mode with a 60's girl-group sound courtesy of Producer Mark Ronson (Amy Winehouse etc). The addition of a Vox organ to the band changes their sound totally from the debut album, but vocalist 'Z' Berg is still on form with plenty of biting asides in her lyrics. Worth checking out if you're a fan of retro sounding pop. (Mark).

Sleep forever, Crocodiles (U.S. band).
San Diego band Crocodiles release their second album in successive years. A stoned fuzzy sound reminiscent of Jesus and Mary Chain and the Raveonettes, this is a powerful effort that works just as well as somnolent background music. (Neil).

Collapse into now, R. E. M..
Depending on your point of view, R.E.M's 2008 album 'Accelerate' was either a bunch of guys getting 'back to basics' sonically and discovering why they still love making music together; or, alternatively, a bunch of middle-aged men trying to sound like they were still in their 20's in a desperate attempt to regain some critical cachet from the music press who maligned their last few albums. Regardless of where you stand, 'Accelerate' got good critical traction thus enabling R.E.M to (re)broaden their musical scope on their new album 'Collapse Into Now'. The result has a kind of 'R.E.M Songbook' feel to it; some tracks sound like they are from 'Out of time', others 'Monster', or 'Automatic for the people', while others have the stripped down sound of the previous album 'Accelerate'. While that doesn't mean anything on it is bad per se, it's just hard not to get the feeling that the entire album could have been, say, Disc 2 of the 'Deluxe Edition' of 'Out Of Time' without anyone being the wiser. Still, worth checking out if you're a fan. (Mark)

New conception of jazz, Bugge Wesseltoft.
Norwegian jazz pianist Bugge Wesseltoft is also a label owner. His 'Jazzland Recordings' label has been issuing intriguing jazz (and beyond) albums by innovative artists including Atomic, Dhafer Youssef, Eivind Aarset, and his own project the 'New Conception of Jazz' series are, of course, a core of the label. In recently years he has focused more on his solo piano effort (he issued a wonderful album 'Playing'), and this 2004 album is the latest (may be final) from the 'New Conception of Jazz'. By mixing house, techno elements with acoustic jazz, he has created a unique one and only sound, and a lot of things he tried in the past can be heard here as if this is a sampler of the 'New conception of Jazz'. Even in funky, groovy tune he never loses cool ambient, and all instruments including his keyboards and samplers are superbly interwoven. It's almost an art of collage work that shows his exceptional talent as a sound creator and director. Something different. (Shinji).

Mark's Picks

Loveless unbeliever, The School.
A lot of bands tend to wear their influences on their sleeves, so that in the end they never seem to amount to more than the sum of their parts. Essentially the platform for the songs ∓ voice of front-woman Liz Hunt, Welsh band 'The School' definitely mines some obvious influences: 90's alternative popsters 'Velocity Girl, the poppier side of Lush, Saint Etienne, Phil Spector, and 60's girl groups such as The Shangri-Las. Hooks and melodies abound in the best Brill Building tradition, but there is something about Hunt's sweet vocals that manage to make the material and style of the band sound fresh & engaging. The kind of album that makes you feel better after listening to it.

Body talk: [collection], Robyn.
Swedish singer Robyn's breakout album 'Robyn' was a big hit in the UK in 2007, and the US the following year, but the majority of it was taken from an album that was originally released in Sweden in 2005. Which meant that in the subsequent time she had amassed a large backlog of new material - which led to her deciding to release 3 CDs in 2010. 'Body talk Pt. 1' & 'Body talk Pt. 2' are both 8 tracks EPs, while 'Body talk' the album collects together 5 tracks from each of the preceding EPs (though some are markedly different versions) and includes 5 new tracks. The result is something other artists would be happy to call a 'Best Of', from dance-floor grooves, to anthemic ballads, minimalist electronica & rap pastiches. A great album from an artist who still seems to be languishing in the 'Cult' bin.

Shinji's Picks

Heavy meatal fruit, Motorpsycho.
Norwegian 3 piece band Motorpsycho have been around since 1989, and have released albums almost every year (twice a year sometimes). This omnivorous do-whatever-comes-to-mind band gives you an impression of punk-ish guitar band on the first listening, but they have added everything that sparks their interests into the music, and once even issued a country album. They are also a great live act and apparently their set lists are never same. This has created devoted followers called 'Psychonauts'. This new album gives a taste of metal as the title implies, but has great variety. Heaviness and mellowness are integrated cleverly and it's well organised, showing their maturity - yet free-wheeling sprits are still abound. Psychedelic-progressive-heavy metal-jazzy-new wave-space rock (maybe).

Throw down your heart : Africa sessions, Bela Fleck.
The music of Banjo innovator and virtuoso Bela Fleck always crosses over boundaries. Along with leading his successful band the Fleckstones, he has worked with a lot of jazz musicians including making a duo album with Chick Corea, and once made an album playing classical masterpieces such as Bach's 'Invention' and Chopin's 'Mazutka'. In 2005, after being inspired by Malian singer Oumou Sangare he visited several African countries and collaborated with local musicians, including Oumou Sangare herself. This project became an award winning documentary film and this album kind of its soundtrack. The music here is jam sessions rather than planned works (some are just field recordings), but is very collaborative and first-rate. Both local musicians and Fleck show respect to their counterparts and enjoy this unique occasion. Fleck fits right in with the locals. He is not showy but displays his virtuosity, and his banjo sounds sometimes like a Kora - stringed musical instrument of West African origin. His musical journey will continue, but this should be one of his highest points so far.

Craig's Picks

Nunatak ; Teimo ; Permafrost, Thomas Koner.
Utterly sublime ambient reissue from the early 90's. Magic.

The Mark of man, Mark of man.
Best vegan death metal band you've ever heard, fresh off the streets of Auckland town.

Addicts : black meddle pt. II., Nachtmystium.
Best left swerve, stepping right outside your supposed genre, dark gurgling mix of 2010.

A small turn of human kindness, Harvey Milk.
The most miserable album ever conceived. Misery never ever sounded so damn good.

On patrol, Sun Araw.
Very cool psychedelic-dub-whatever-avant rock meanderings. Sublime frequencies indeed.

Deutsche elektronische musik.
The only Krautrock compilation you'll ever need. Except the really good one I could make you.

Metallic spheres, Orb.
David Gilmour and the Orb. Nuff' said really. Chilled out magnificence.

Wilderness heart, Black Mountain.
Ex-rehab workers harness some of that grime and angst and smash up the big riffs and big hooks.

The bride screamed murder, Melvins.
Wonderful return from these veteran indie doom scene stealers.

My weakness is strong, Patton Oswalt.
Patton grows up but he doesn't lighten up. Solid, hilarious, inquisitive and confrontational.

Like a slow river, Lull.
Ambient majesty from Mick Harris, truly ice cold dark underworld beatless brilliance.

The tenant, Ludicra.
Easily the best metal album added to our catalogue this year. By far. It's really, really good.

Papercuts Theatre, Burning Star Core.
Wonderfully confronting noise album that encompasses a huge range of influences that are all squashed together and filtered with a vicious compressed vibe.

Liminoid ; Lifeforms, Aidan Baker.
Nadja front man goes solo on this album and what a lovely, sedate and introspective journey it is too. Top class drone made for late night listening.

Oversteps, Autechre.
Easily the best Autechre album in years. Progressive and ambitious, with a hint of, dare I say it, popular appeal. The very definition of intelligent dance music.

This is happening, LCD Soundsystem.
Supposedly the last album from this unit, and what an exit. A truly sublime ramble through post-punk influenced propulsive electronica.

Monty's Picks

Feast of the hunter's moon, Black Prairie.
Real tender Americana from this unheralded group of pickers, players and singers. Moody, dreamy and occasionally, raucous.

I see the sign, Sam Amidon.
If you like cool, calm and eclectic then Sam could be the man. Like an off-key dream soundtrack.

Dark night of the soul, Danger Mouse.
Dangermouse illuminates all kinds of dark places, momentarily. Features some of the last work of late, dead-before-their-time Americana legends Sparklehorse and Vic Chesnutt and all the sadder for it.

Antifogmatic, Punch Brothers.
I've only listened to some of this but, man; these guys can play their respective acoustic bluegrass stringed instruments like no one around. As ambitious as 'Punch' their first and just as worth a listen.

Lucy's Picks

$O$, Die Antwood.
YoLandi Vi$$er is the best female rapper since Missy Elliot.

I will be, Dum Dum Girls.
Really good production. My Bloody Valentine meets The Beach Boys.

Rowan's Picks

High Violet, National.
A truly epic album.

This is happening, LCD Soundsystem.
Maybe their last album, sadly. Fun, fun fun!

Band of joy, Robert Plant.
Sad that another album with Alison Krauss wasn't forthcoming, but I really like this. 'House of Cards' is a stand out track for me.

The soft pack, Soft Pack.
Has kind of a 'Strokes-y' vibe.

Contra, Vampire Weekend.
I can't get enough of this band, such an unusual mix of styles.

Ethel's Picks

• From the inside out, Stan Walker.
  
• Ora, Wai.
  

Richard's Picks

• My father will guide me up a rope to the sky, Swans.
  
• Your future, our clutter, Fall.
  

Karl's Pick

The way out, Books.

My weakness is strong, Patton Oswalt.
Patton returns with another album of 'alt' observational comedy wonders. This time his set initially focuses on his impending fatherhood and so reflects a more sombre tone, there's still plenty of jokes about his unhealthy lifestyle and such, but there are tender moments where the prospect of parenthood makes for a more reflective set. That said, obviously there's still the acerbic wit and plenty of gross out jokes and geek references to be found. Whilst maturity is often the death of great comedy one could easily surmise from this album that although Patton might be growing up, and throwing a bit of wisdom into his set it, it in no way equals a decline in quality. A hoot from woe to go. Included with the CD is a DVD of the set and as always with Patton it's fantastic, he's got great charisma and a shuffling stoop well worth seeing. (Craig)

Flags, Brooke Fraser.
Straight to number one in the NZ and OZ charts on its release, and it's easy to hear why. From the catchy 'Something in the water' to the pensive 'Flags', it's practical yet emotional, refined and defined, mature and whole, the substance eminent of what we've come to realise, recognise and expect from/of Brooke. Her voice honest and real. I could compare this album to 'What to do with daylight' and/or 'Albertine' but I think each holds their own, and each has grown from one to the other, this one a reflection of both with a hint of maturity apparent in this album. Brooke is a very gifted singer/songwriter with limitless flair and ability. Time, age and ultimately her audience, the winner. A definite 'cheers' from me for this album. (Ethel)

The tenant, Ludicra.
'Ludicra' are one of metal's most underrated bands. Over the course of four albums they have steadily produced works which have become smarter and more refined with each release. 'The Tenant' easily ranks as one of the best metal releases of 2010, an intricate mix of black metal aesthetics and prog-worthy sophistication. It is a surprisingly upbeat album, whimsical even, whilst still remaining dense, grunty and very heavy. A decade in the underground has clearly been of huge benefit to Ludicra, no slaves to trends, they have happily ignored the 'rules' on what metal bands are supposed to sound like and struck the perfect balance between furious noise and intelligent meta-metal. Well worth checking out if you're at all a fan of sophisticated heavy rock. (Craig)

Almost and always, David Mead.
David Mead, who was born in New York and grew up in Nashville, may be largely unknown, but John Mayer has stated that Mead is one of his favourite singer-songwriters. In fact, Mead can craft beautiful songs in the same way Neil Finn or Ron Sexsmith does. His first couple of albums are excellent pop albums and commercial success seemed to be waiting to happen, but he has remained outside of the mainstream music scene as a result of putting out critically-lauded but low-key follow up albums. This, his 6th album, is again a gentle, low-key affair. Apparently, the songs were originally written for a woman, and with subtle acoustic arrangements, these sweet, enchanting love songs are presented. The producer and the bassist Brad Jones (from the Jazz Passengers) avoids any frills and just adds demure strings and woodwinds when necessary. Although it lacks obvious sparks, it demonstrates the gifted talents of Mead. This won't make him a household name, but it's too good to pass over. (Shinji)

In stormy nights, Ghost.
Ghost is a Japanese band formed in 1984; they have recorded sporadically over the years releasing various works which, while rooted in psychedelic and experimental rock, incorporate elements of folk, noise and progressive time signatures. In Stormy Nights, their 2007 release, is a wildly rambling affair. All over the map musically it ranges from freak-out guitar jams to gentle, albeit very 'different', ballads. If you're in the mood for something that's a real exercise in listening then this is perfect. There's nothing remotely immediate about it, it requires dedication and a certain tolerance for self-indulgence to appreciate where this is going, but once you get there, it's a glorious spot to find yourself in. A wonderful feedback soaked holiday in the world of avant-rock. (Craig)

Butter, Hudson Mohawke.
The British label WARP have just celebrated their 20th anniversary (with an excellent retrospective CD set that is also recommended). WARP is an acronym for 'weird and radical projects' and throughout their history the label have held true to this mission statement. Hudson Mohawke is the solo project of 23 year old Glaswegian producer Ross Birchard. The term 'boundary pushing' immediately springs to mind when attempting to describe his recent release, 'Butter'. Hudson Mohawke refracts hip-hop, skewed and wobbly beats and R&B through his own neon-tinted prism carnival of sound with the joy of a teenager rewiring his favourite Playstation soundtrack. The YouTube clip for standout track 'Joy Fantastic' is a good entry point into this wired enticing sound world. Birchard was, in fact, a teenage DMC champ and it's clear that video games have influenced his musical vocabulary. Possibly best taken in small bites, 'Butter' is a CD that requires a commitment from the listener that ultimately reveals a genuinely original talent. (Hudson Mohawke is on the bill for this year's Rhythm 'n' Vines Festival alongside Flying Lotus which promises to be skewed beats spectacular). (John)

Like a slow river, Lull.
Lull is a British dark-ambient Electronic project from former 'Napalm Death' drummer Mick Harris. Differing from his more darkly dub-orientated project Scorn, Lull is instead a deep ambient stew with minimal time changes and maximum doom. Think of it as the perfect soundtrack to your own little internal horror show, it's profoundly meditative with a thoroughly menacing air. Harris doesn't return to his Lull works often, and listening to these three slices of icy Electronica there's probably a very good reason for that. It sucks you into a very dark void, I have no idea what depths he'd have to plumb in making it. It's absolutely perfect if you happen to have just been dumped and fancy a good old mope, but it's even better for those evenings when you may have had one too many glasses of wine and fancy staying up pondering the meaning of existence. (Craig)

Brian Wilson reimagines Gershwin, Brian Wilson.
It is probably not surprising that Brian Wilson has made a Gershwin album as he often mentions that he is a big fan of his music. He showed his love of Gershwin, when he finally completed the legendary abandoned Beach Boys album 'Smile' in 2004, by playing a piano medley of "Rhapsody in Blue" and "Heroes and Villains" from Smile. However, it was surprising and exciting that the Gershwin Estate, which strictly manages Gershwin's copyright, gave Wilson a permission to complete two unfinished works by Gershwin. The album opens and ends with "Rhapsody in Blue" sung acappella in Wilson's unmistakable harmony, and these two new songs, which both sound like Wilson's songs, are put after and before them. In between these are well known Gershwin's numbers, but the music here is wonderfully coloured as a Brian Wilson's sound. 'I Got Plenty O' nuttin' becomes an instrumental number, reminiscent of 'Pet Sounds' or 'Smile'; there is a lovely bossa nova, 'S Wonderful'; and 'I Got Rhythm' is marvellously transformed to a surf rock number which creates an illusion that 'Surfin' USA' is revived. As the title indicates, this is not just a cover album, it's more like a collaboration album by two American geniuses, and there is a warmth and happiness. Brian Wilson has been around for many years. There have been ups and a lot of downs, but he still makes us smile. (Shinji)

I see the sign, Samamidon.
Samamidon sings in a delicate broken voice that reminds me of hushes, calm days and dreams. Choirs of broken voices reach a mild din only to fade in a hypnotic wave and pulse and the effect is somehow sophisticated and rural, folk and pop, remembered and forgotten. I love that he holds these cards closest to his chest - he never overplays, his lyrics are delicate, his voice never strains. 'I see the sign,' is an album of whispered secrets for long afternoons. (Monty)

Surfing the Void, Klaxons.
The Klaxons have taken a bit of a critical knock on this, the follow up to their Mercury Prize-winning debut. It's understandable in one sense, but who needs 'safe' redundant garbage, when we can get an album that reeks of failed experiments and perhaps a little too much hedonistic indulgence. They've upped the guitars and dropped a lot of the tweaks, bleeps and glitches and it's produced by nu-metal guru Ross Robinson, which is a frankly bizarre choice, but he does capture the essence of rawk pretty well. If you're after something that takes a touch adventurous then this is perfect for you. Or not, you might hate it; plenty of folks do, but why not take a punt anyway. (Craig)

A sufi & a killer, Gonjasufi.
Another Warp Release that pushes genres is Gonjasufi's 'A Sufi and A Killer'. Part of the current LA beat scene, Gonjasufi, so the story goes, is an ex-junkie who now teaches devotional yoga. He writes songs (as opposed to raps) and performs them over beds of samples & programmed beats supplied by the Gaslamp Killer, Mainframe and on one track, Flying Lotus. What sets this CD apart is the strangeness of the concept... it shouldn't work but it does. Gonjasufi delivers his songs of post modern suffering like an old bluesman over a heady brew of backing tracks, beats and samples drawn from a bewildering array of sources. The tracks are short and bear little resemblance to each other drawing from blues, soul, rock, jazz and even a ballad, "Sheep". The CD begins with what sounds like an old scratchy recording of Turkish devotional chanting and, as each track unfolds, the listener is led deeper into Gonjasufi's arcane sound world that samples equally from ethnic music and garage rock, and always... those hazy, grimy beats. Half way through listening to this I realised I was hearing something that was highly original, very strange and very, very good. An accompanying remix CD 'The Caliph's Tea Party' offers still further tangential explorations of a truly hallucinogenic sound world described by Pitchfork as "21st century acid rock". (John)

The Mark of Man, Mark of Man.
Auckland band 'The Mark of Man' have produced a benchmark album for Kiwi metal on their debut. With an all vegan line-up their first release is a furious, frenetic blast of melodic death metal that is firmly focuses on animal rights and assorted social evils. Formed after the death metal stalwarts '8 Foot Sativa' went into hiatus they are a veritable supergroup of New Zealand extreme metal and it shows. The album is a superb example of technical death metal with a large dose of melodic influences and easily ranks near the top of best metal releases for 2010. 'The Mark of Man' have hit one out of the ball park first time out, and if you fancy a bit of an education along with a solid dose of cathartic metal, this is the one. (Craig)

Holy diver : live, Dio.
Ronnie James Dio was one of the finest singers to ever grace the stage. Over a long and acclaimed career he was revered as not only as a singer with a powerful and distinctive voice but also as someone who was genuinely grateful towards his fans, and perhaps more importantly, as the man who invented the 'devils horns' metal salute. His years as the lead singer with Rainbow and Black Sabbath bought him fame, fortune and acclaim, with the Sabbath albums he contributed to being universally acclaimed as classic works from the world of heavy rock. Following his exit from Sabbath he went on to record a string of solo albums, all of which are fantastic to some degree, but it is perhaps the first three that really matter, with 'Holy Diver' being the stand out classic. This album is a live set recorded in 2005 where Dio preformed Holy Diver in its entirely and it is a magnificent effort comprising the aforementioned album and some additional gems from throughout his long career. Dio's work is firmly in the melodic heavy rock/metal camp, and with an unending display of great showmanship and that thundering voice of his, it makes for an absolutely essential album. (Craig)

Interpol, Interpol.
For those who've never listened to Interpol before, this might not be the album that makes you love them. For those familiar with Interpol's guitar-driven melancholy, you'll find this self-titled album both moodier and more majestic than previous offerings. Sadly, bass player Carlos Dengler left the band shortly after this album was completed - his intriguing bass style having been a cornerstone of Interpol's sound. All the more reason to savour the heavy layers of this very Interpol-sounding album. (Rowan)

Night music, Etienne Jaumet.
This has to be one of the stand-out electronic releases this year, and you'd be doing yourself a huge favour by tuning in. 'Night Music' is a minimalist techno album heavily influenced by the dreamier side of Krautrock, Kosmische and Basic Channel works. A huge, spiralling and fundamentally ambient work, Night Music, pulses along with the throb of early techno and the heart of such artist as Tangerine Dream, Pole, Zombi or Klaus Schulze. It harkens back to the inwardly focused and meditative electronic albums of the 70's, yet it does not sound remotely dated or 'new agey' in any sense. A late night album in every sense, headphones on, lights off it'll take you on a journey to the far corners of the universe, although not necessarily back again. Yeah, I know that sounds a bit sketchy and verbose, but seriously you need to hear this! (Craig)

Until the end of time, Opshop.
I was itching to get my hands on this album along with the rest of NZ - the bad news is I liked it straight away which isn't good because I've 'discovered' it already (most albums I listen to for months before I form an opinion). When reaching a larger demographic the threat for most bands is losing their individuality and the reason we liked them in the first place, or they grow into their own and realise they don't need to impress us with their biggest and loudest sound. This album has greater lyrical depth than most albums I've heard - food for the soul, rather than the chimera-candy entertainment that we've grown accustomed to in popular music nowadays. The lyrics for tracks like "Paradox" and "Everything to someone" are deep, bold and idealistic, challenging our paradigm and attitudes - an art that has been neglected since Leonard Cohen and Zach De la Rocha. For an album with such great poetry, I don't understand why they never put them in the cover??!! I'm not a huge fan of vocal effects as they tend to hide the true abilities of the singer and it's been over cooked a bit here; an unnecessary element for such a voice as Jason Kerrison. Much like their reliance on digital effects in all their releases to date and they've stayed true to form here also. No soaring guitar licks from Matt Treacy anywhere between "Pins and Needles" and "Clarity", but there's a song for every mood on this album ranging from rockin' out, or just chillin' on a Sunday afternoon. It's definitely more mature and experimental than 'Second Hand Planet', but lacks the hooks and ethereal quality of its predecessor. A good introduction to this band for listeners curious about their variety and dynamic. (Ethel)

Three kings, Dead Meadow.
Dead Meadows are a heavy-psych band supreme, and 'Three Kings', their first live album is a perfect little example of just how great a stoner-rock-jam-fest can be. Spread over a double disc set (disc 2 being a live DVD intercut with suitably mysterious and bizarre vignettes) Dead Meadow's new album is a dream for fans. Filled with bucket loads of Sabbathy doom worship and 70's soaring guitar wig-outs it's an absolute peach of an album for anyone inclined to favour the rockier side of the psych-pop spectrum. It's fun, bursting with sweaty joy and loose and rocking as all hell. Brilliant. (Craig)

All the plans : deluxe edition, Starsailor.
Great album with barely a poor track. When a lot of pop music sounds uninspiring and soulless, this album sounds like they want to play the music and sing. "All the plans", "Neon Sky", and "You never get what you deserve" are highlights but "I'm the boy who's waiting", "Hurts too much" and basically the rest are all good. And the CD has an acoustic version extra as well. What more could you ask for. (Martin)

Oversteps, Autechre.
Whilst Autechre have been popular amongst fans of seriously disjointed Electronica their popular appeal has been limited due to their fiercely unsymmetrical approach to making music. 'Oversteps', seems to be an album hoping to remedy that fact. It's a lot warmer, less abrasive and a surprisingly welcoming affair. Sure, the experimental IDM ethos remains, but where in the past the desire to lurch from glitch to glitch in ferocious steps was evident this time around they've simply calmed down. The album is all the better for it, nothing wrong with their past efforts, in fact they are all excellent releases, but this is certainly a lot more accessible and therefore a lot easier to digest. Twenty years in to their career and they've finally slowed down, there's something to be said for stopping sometimes and contemplating the view. If you want to know what all the fuss is about, I'd start right here. (Craig)

Alborada do Brasil, Carlos Nunez.
Nunez, Carlos Although it was oppressed by General Franco until his death in 1975, Galicia in northwest Spain is one of the many regions where Celtic culture is deeply embedded, and gaita (Galician bagpipe) and recorder player, Carlos Nuez (born in 1971) is the most prominent musician to restore their proud tradition. His breakthrough to the world stage was to join 'The Chieftains' in the early 90s. He has a hybrid sense of music and has collaborated with numerous artists including Jackson Brown. He has some fantastic albums under his belt and his new project is taking on Brazilian music. For this album, he works with two exceptional producers: Are Siqueira, a young talented Brazilian who has produced Marisa Monte, Yusa, Tribalistas; and Mario Caldato Jr., who has worked with Beastie Boys, Beck, Jack Johnson, and successfully creates a refreshing music. Modern beats such as breakbeat and programming are used with traditional Brazilian rhythm, and the music here has typical Celt and Brazil flavours which are surprisingly well blended without conflictions. Who would think that Celtic sounds could blast in Choro or Samba? A wonderful world music hybrid. (Shinji)

The final frontier, Iron Maiden.
Another in a long line of classics from the mighty Iron Maiden. This far down the line career wise they could be coasting on former glories and churning out uninspired rubbish like so many of their brethren, but they're not, they are still pushing forward, still honing their sound, and still releasing invigorating work. 'The Final Frontier' is represented by a somewhat livelier and punchier sound than the past few albums, perhaps reflecting the phenomenal amount of touring the band has done of late, and the songs themselves have expanded out to more prog-worthy lengths, encompassing a myriad of time changes and futuristic themes. In comparison to their other woks this is very much further along the melodic end of the scale, not that they've ever been particularly discordant themselves, but there are harmonies at work here which are more representative of their mid period 80's blockbusters. If you're a fan you'll already have this one, and if you're not, well, shame on you really. (Craig)

On the road again, Katchafire.
Yes! Katchafire are most definitely on the road again! This is album number four, a complementary follow up to 'Say what you're thinking' which was released in 2007. With two little cuties on the cover to 'catch your eye' Katchafire fire us up again with their signature sound, soulful rhythms and reggae beats together with their rich natural vocals and harmonies that we've all come to appreciate and respect. They are who they are, what you see is what you get, no airs no graces, about as traditional as the landscape. And when the foreign country tours are over, Aotearoa calls them home again to refuel with the culture that is ours to celebrate and inspire. Taking this journey again with them, like track number 2 will be "Sweet As!" (Ethel)

Kiss my sweet apocalypse, Black Sheep.
Black Sheep is an anarcho psychedelic outfit fronted by the always interesting Julian Cope, and an assortment of other bearded fellows. This double disc set is a collection of tunes recorded in honour of various historical rabble rousers backed with a steely leftist agenda and a damn fine sprawling escapist sound. As with every two disc set not everything works, there's some tracks that get lost amongst all the somewhat drug fuelled themes, but overall it's a triumphant inspiring listen. Definitely not for anyone who isn't enthused about experimental music, but for the curious and crusaders it's a fine choice. (Craig)

Body talk. Pt. 1., Robyn.
Swedish popster Robyn returns with her first new music since her self-titled 2007 'comeback' album. While Lady Gaga's weirdness seems entirely calculated, Robyn comes off as being a genuinely quirky sort, a bit like Iceland's Bjork. All of which is reflected in the gamut of styles represented here: from the minimalist Electronica of 'Don't f***ing tell me what to do', to the electro-pop of 'Dancing on my own', the acoustic ballad 'Hang with me', & the Swedish torch song 'Jag Vet en Dejlig Rosa'. Her 2007 comeback album was actually an international version of an album released in Sweden in 2005, so Robyn has amassed lot of new material, represented by the fact that this 8 song EP will be followed by another 8 song EP & then a full 'Body Talk' album, which will combine the best tracks from both EPs with an additional 4 or 5 new tracks. Whether this will prove to be a triumph of marketing over music remains to be seen, but judging by the varied styles on display here it won't be dull. (Mark)

Going places, Yellow Swans.
A fitting finale for noise band Yellow Swans who called it a day recently. Going Places finds them investigating their world of furiously unhinged amalgamations of rock and industrial tones with a slightly restrained, more drone based formula. Over the years, 'Yellow Swans' have managed to consistently mine the maelstrom of chaotic noise with a ruthless efficiency and whilst they leave us on a high note with this album one could rightly surmise that perhaps they had run their course anyway. Not to say there is anything redundant or lacklustre about this album, there isn't, but there's only so much noise you can take or make. If you've ever wondered what exactly noise music or wildly experimental artists sound like you'd be well served by starting your journey here. (Craig)

Passive me, aggressive you, Naked and Famous.
Seeing this Auckland 5 piece open for 'The Temper Trap' recently at The Powerstation, I was impressed by how good they were live and how catchy some of their songs are. I really like their synth/guitar/pop sound, and it's definitely one of the better Kiwi albums I've heard of late. Public opinion seems to be divided though, especially after they recently won the Apra Silver Scroll award for their track 'Young Blood'. One reviewer even remarked that "it spells the end of the award being taken seriously as meaning anything for serious songwriters and the craft of song-writing". Ouch. Have a listen for yourself and see which side of the fence you're on! (Rowan)

Angel dust, Faith No More.
Like many bands who inadvertently found themselves in the position of being successful 'Faith No More' chose the uneasy route for their blockbuster follow-up album. 'Angel Dust' was in many ways a means to pair back their legions of followers after phenomenal success of their 1989 release of 'The Real Thing', and it can be rightly considered as their masterpiece. Darker, more eccentric and infinitely richer, 'Angel Dust' represents a highpoint for a band so often unfairly pegged as metal-lite or worse still, just rap-metal. Mike Patton's vocals are more intense, dripping with aggression and a delicious irony, and the band stretched out across the musical spectrum to incorporate elements of country, soul, thrash, world music and even a few classic rock harmonies. If you had to pick one album from their catalogue to listen too, this would be the one. It's comical, perverse, mean and damned efficient; 'Angel Dust' is a classically twisted gem. (Craig)

Nkolo, Lokua Kanza.
Congolese singer Lokua Kanza was brought up in a ghetto with seven siblings, and began music from a very young age to support his family. In 1984, he moved to France where he met influential musicians such as Manu Dibango and Angelique Kidjo, and has since developed his music. He has been enjoying a stellar career since his debut in 1993, but this 6th album should gain the acclaim of his best to date. Although his music is deeply rooted in his Central African tradition, it features sophisticated chic feelings led by his sleek voice. The recordings for this new album were held in Kinshasa in Congo, Paris and Rio de Janeiro, and the beautifully crafted organic music is displayed in a surrounding of gentle but elaborate choral works. Gospel, Caribou and Brazilian tastes are also there and naturally woven through an acoustic Afro sound. Kanza seems to enjoy every moment and shows this through his relaxed yet meticulously executed vocals. It's so refreshing that you really feel like you're being immersed in nature. A reticent triumph. (Shinji)

Surface to air, Zombi.
Zombi specialize in psychedelic keyboard ambience. As electronic artists they produce a sound that is more akin to 70's Italian greats like Goblin or Krautrock electronic gurus Tangerine Dream, with pulsing, throbbing, droning tracks that ooze a retro charm. Surface to Air, their second full length album, finds them stuck firmly in an electronic sci-fi orchestration phase, in fact so cool is this album that it could easily be the soundtrack to the greatest mind-blowing sci-fi you've never seen. I'd heartily recommend this if you're after something soundtrack(ish) but with an added dash of European sheen, although to be honest the Zombi lads are from Philadelphia, but don't let that stop you; it's all moody moog and slinky synth magnificence. (Craig)

Reptilian, Keep of Kalessin.
I'm certain Norway is my spiritual home, there can't be any other reason why I love this album; it's all so utterly ridiculous. Symphonic black metal albums like this, with flash, polish and dare I say it, populist appeal, are laughed at amongst the dark and evil cult metal crowd, but you can't deny that there's something just damnably fun about the whole thing. There are the good old Cookie-Monster growls and blackened shrieks, the swanky overlong solo's and of course buckets of pomp, it's just a right hoot from woe to go. Nothing to listen to for anyone wanting something malicious or menacing, there's too many hooks and fluff on here, but it's an excellent example of the increasingly common approach of today's metal artists who are trying to retain some underground credibility whilst spreading their appeal. (Craig)

Beachcomber's windowsill, Stornoway.
I really liked all the tracks on this album at first listen, which is rare for me. This will be my next CD purchase. (Sue)

Constellations, Balmorhea.
'Constellations' is a curious mix of acoustic based Americana and post-rock ambience. While Balmorhea's previous albums have relied on more electronic treatments this one feels a lot more human with its gentle and refined washes of murky drone underscoring the more prominent strings and guitar picking. This is an album made for relaxing with, a contemplative album in every sense, no doubt due to its title it evokes the feeling of viewing the night sky and its spacious and open ended instrumentation creates a ambient, almost rural atmosphere. As far as idiosyncratic post-rock goes this is a gem, with a welcome sense of escapism and ambition. (Craig)

Ora, Wai.
Mina Ripia and her partner Maaka McGregor have done it again. It's been a while since they released their debut album Wai 100% (10 years in fact) but it's been well worth the wait. This is their second international release. A mix of melodies with western electronic influences. The opening track "Tuhia te Ha" a dedication to the late Charlie Gillett, is a beautiful and moving unaccompanied vocal, a tribute to the success and triumph of the Maori Language. A distinct and unique harmonious blend, of traditional made modern, Maori music. (Ethel)

Blue record, Baroness.
Baroness is the best metal band you've never heard. True heroes of the underground they caused a huge splash a few years ago with their debut album, with it's mix of swampy Southern US stoner riffs, pop hooks and indie rock leanings. The 'Blue record' is their massively anticipated new album and like all albums that have journalists perched over their keyboards to write about there's a critical weight to it that distorts its merit. However, taken as a singular piece of work the 'Blue record' is a massive success. Baroness happily dial in influences and inspiration from sources way outside the metal spectrum, then they twist them, deconstruct them and jumble them about, resulting in an album that not only rocks along, but has actual gravitas. I could go on forever about this album, it was one of my favourite albums from the last decade, and it's well worth a listen. It's ingenious, packed full of sludgy grunt and best of all it's mixed loud. Redneck refinement - who'd a thunk it. (Craig)

Tommy Keene you hear me : a retrospective, 1983-, Tommy Keene.
Tommy Keene is one of the great unsung American guitar-rockers of the last 25 years. Emerging in the early 80's Keene would become one of the leading figures in the burgeoning movement that would later become known as 'power pop'. His first EP 'Places that are gone' in 1984 would be voted EP of the year by Village Voice, and garner lavish reviews in Rolling Stone magazine, leading to his signing with major label Geffen Records. Unfortunately like many other musicians - Dwight Twilley comes to mind - Keene would fall foul of major label interference & mismanagement and despite consistent critical acclaim, the attendant commercial success never arrived, leading Geffen to drop him from the label. Keene struggled to find a record deal for the next few years, eventually ending up on Matador in the early 90's, and 'Ten Years After' in 1996, became his first full length album since the late 80's. Every few years since then he puts out an album as consistent as his first EP, full of driving guitars, great songwriting, and acres of melodic hooks. Despite it's somewhat unwieldy title & sparse liner notes, 'You Hear Me' does an admirable job of tracing Keene's career from 1983 up until his last album from 2009. Recommended for anyone who likes classic guitar pop/rock. (Mark)

Waiting for you, King Midas Sound.
For anyone reading this who has not heard 'London Zoo' by Bug (aka Kevin Martin) then stop right now and reserve it immediately before you move on! Because 'King Midas Sound' is the new Kevin Martin album and instead of indulging in more of Bug's dark and very very angry dubstep he has chosen to travel elsewhere, into the almost polar opposite realm of smoky downtempo weirdness. Released on the consistently brilliant Hyperdub label and catalogued in our experimental music collection 'Waiting for You' is really just a lovely warm dub album, abet one with trip-hop and psychedelic tendencies. Don't be scared off by it's experimental cataloguing, aside from some hiss and scratch on a few tracks it's not really experimental at all, far closer to 'Massive Attack' than anything truly outlandish and any misgivings you may have held will be instantly forgotten when you hear the warm invitation on offer here. Mellow, smooth and very relaxing, King Midas sound is a juicy peach on a summers day, a nap near the fire on a winters eve or maybe a great scarf on a windy autumn day. It's damn near perfect. (Craig)

Summertime, Drums.
I have been really impressed by The Drum's album 'Summertime'. It's a kooky blend of surf guitar music and 80's synth. Think The Beach Boys meets The Cure and Joy Division. Highly recommended. (Rowan)

We're because we're here, Anathema.
Anathema were at one stage a truly innovative band, in fact alongside such other British bands as Paradise Lost and My Dying Bride they invented an entirely new genre of brooding seriously heavy U.K gothic rock. And then, of course, they grew up. These days the heaviness is long gone, replaced by alt and progressive rock touches, but while they might have gone soft in their later years there's no doubt they are still making great music. With a six year gap between this and their last recordings they've obviously had time to tweak and hone this set of songs to perfection and that's evident in the care and structure of the tunes. As always there's a grand emotional component to it all, the legacy of their more Goth years is still strong with emotionally compelling songs, that may not resonate with you so much as envelope you. Musically there is a strong focus on layered instrumentation and a great deal of keyboard work which makes for a mature rock album with an introspective sway. Overall, there's a grand medatative themes. It's nice to see a band remaining interesting and ambitious in their later years. (Craig)

Live at Roundhouse London, Fat Freddy's Drop.
Live concerts, the only way to feel the magic and be in amongst the atmosphere of Fat Freddy's Drop. There's nothing like being there, but when you can't be there, this is the next best thing, a live recording of their concert at the Roundhouse London, which was the final of their six week European tour in December 2008. Tracks are longer than usual which is often the norm at live shows, an opportunity to add a few beats and dubs here and there while they play, however, more relaxed and mellow, but charged nonetheless. The music and the light banter with their audience, sure to make the ex-pat kiwis miss home even more. (Ethel)

The argument, Fugazi.
Fugazi's final album, before they called a hiatus in 2001, is a bit of a lost punk rock masterpiece. While some punk bands went on in their later years to record pompous and facile rock operas there's none of that nonsense for Fugazi (not that there was ever a chance of that happening, they're a DC punk band, East Coast, hardcore). The Argument provides the perfect blueprint for punk bands who want to grow up and remain relevant. There's still plenty of the fire and brimstone on the album, still bucket loads of righteous passion, but it's been tempered by a heavy dose of post-punk and a more sophisticated backdrop. Where in the past Fugazi would have been happy to bash you round the head till you got the point, on this album they have taken a different path,. So, cut and pasted around all those disjointed riffs and stop-start precision is the same emotive, searing honest lyrical content, but it's laid out on a subtler, more reflective palette. A highly accomplished and gracious finale. (Craig)

Disconnected, Faust.
At last a collaboration between two of the most adventurous musical outfits of our time, "Disconnected" fully lives up to its promise, delivering a stunning range of sound collages, treated electronics, and sonic experimentalism. The two bands have been around for over 30 years, but here they feed off each other to produce something both fresh and exciting. (Neil)

Dear God, I hate myself, Xiu Xiu.
How to define Xiu Xiu? Well, lets not bother. Some bands skip merrily across genres so forget the simple pigeonholing for now and get to the heart of their latest. It's great, as always, with a renewed vigor on the electronic front and a continuation of the DIY aesthetic that has seen them hailed as true underground legends. As always there's a heavily emotional component to the lyrics, if it wasn't for the lack of makeup and ridiculousness the word 'emo' might be banded about, but that seems impossible now as it conjures up images of makeup laden pseudo punk boy bands rather than it's true origin in the DC Hardcore scene, so perhaps its better to just say they are deeply felt, with a weighty dollop of woe and contemplation. Musically, well, where to begin, it's all over the place, and its categorization in our experimental selection is understandably agreeable. There's dashes of folk, hence some banjo bashing, loads of quirky splash dash electronica, the usual avant guitar picking and some funky and dark post-punk vibes. Who knows really, it's Xiu Xiu at their finest and that's all that matters. Recommended for those looking for something well outside their musical comfort zone but still recognizable to their own emotional compass. (Craig)

That's all I need, Andre Williams.
Born in 1936, Andre 'Mr. Rhythm' Williams is a R&B legend in both good and bad ways. In the late 50s, he became a star in Detroit for Fortune Records, then was hired by Motown as a producer and A&R man. He produced records for the likes of Little Stevie Wonder, The Dramatics, Ike & Turner and was associated with numerous artists. However, he has been always wild and an outlaw. He was nowhere to be seen in the 80s - apparently living on the street. His comeback was in the middle of the 90s as a punk-blues singer, and is now called the 'Black Godfather'. As for making this new album, it is said that he was clean and sober for the first time in his long career. That may be why this is calmer and mellower than his previous works, though punk-blues is still a good description of this album. Andre Williams makes Iggy Pop look like a young boy. (Shinji)

Earthly delights, Lightning Bolt.
Lightning Bolt are a noise rock duo made famous by their refusal to play on regular stages, playing instead on the floor of venues, with the audience surrounding them. Their sound is an amalgamation of all things noisy, a dash of Japan's Boredoms here, a drop of white-noise there and a dollop of free jazz experimentation everywhere. With only a drum kit and bass to play with the key is volume, and lots of it (although there seems to be a fair bit more instrumentation on this album than their previous). Earthly Delights is the follow-up to their semi-underground hit Hypermagic Mountain and is a resounding success, if you're after something flat out fun and, obviously, flat out deafening. (Craig)

Love and its opposite, Tracey Thorn.
More mannered than her 2007 debut 'Out of the Woods', 'Love & it's opposite' seems in many ways a loose concept album about life in the suburbs, and growing old - both gracefully & disgracefully. Thorn married longtime partner & 'Everything But the Girl' bandmate Ben Watt last year, after 28 years together, so the album, unsurprisingly, has a bit of a domestic insular focus - taking on everything from her fear of marraige 'Long White dress', to getting old 'Hormones', to the proliferation of divorces around her 'Oh, the Divorces'. The subtle beats on her debut are mostly gone, replaced with a sparse chamber-folk style, meaning the album is mostly carried by her voice, which is still as rich as ever. Not as engaging as her debut, but worth checking out if you enjoyed that album. (Mark)

British steel [30th anniversary ed], Judas Priest.
Every musical genre has its masterpieces and British Steel is certainly one of them. A celebrated tour de force it has all the hallmarks of a classic metal album, screeching overwrought guitars, Rob Halford's operatic howls and a pounding backbeat. Scott Ian, guitarist from Anthrax, suggested the album defines heavy metal more than any other because it did away with the "last shards of blues" that had otherwise been characteristic of the genre. He's probably right too, it's certainly been stripped of any superfluous roots rock edges, being a streamlined blast of aggressive hook laden heavy rock from woe to go. At the time 'British Steel' brought metal roaring out from the underground, and not many other albums can claim to have nine classic songs to boot, putting aside the somewhat dated lyrical content, it's as important today as it was upon release in 1980. This reissue also comes with a bonus DVD disc of the entire album preformed live in 2009; I'll be frank, the Priest aren't looking so great these days, but hey, we're all getting older; they're certainly still delivering and that's what counts. (Craig)

Jamine, Keith Jarret.
After playing together in a documentary on Charlie Haden, Jarrett & Haden - who hadn't played together in 30 years - decided they enjoyed the experience so much they would get together for some informal sessions at Jarrett's home studio. The tapes of these sessions sat around for a few years before they decided to release them as an album, and 'Jasmine' is the result. While there isn't as much improvisation as one might wish for, and it lacks the emotional weight of Jarrett's melancholy solo album of standards 'The melody at night, with you', it's still full of subtle beauty, and depth of feeling. The intuitive telepathy of two masters winding their way through a set of well known & not so well known standards, for no other reason than their love of the music. (Mark)

Go, Jonsi.
Sigur Ros frontman Jonsi is going to be forever cursed by his own brilliance. His voice is so distinctive that anything he produces is going to be compared to Sigur Ros because it was for all intensive purposes his voice was an essential 'instrumental' component to their sound. So, onto the solo album then, where that voice is once again amazing, only this time it's treated less as an instrument and allowed to meander over some of the best avant-Icelandic pop heard in decades. There's a simple happiness here too, offering an escape from some of Sigur's more dramatic soundscapes perhaps, but amongst all those electronic treatments and strings there runs a strong current of joy. If you found Sigur a touch dark you might just find that this album more readily suits your mood. It's beautiful and radiant, and bless Jonsi's little woolen socks, it's just plain fun. (Craig)

Nice, nice, very nice, Dan Mangan.
A Canadian who's turning some heads - this breakthrough release has fun choral choruses, clapping and pauses, and cool anecdotes and tidbits in the liner notes. "Are you watching? Or just waiting to see?". Grabs you right away, but will you drift away before the end? (Jesse)

Jah Rydem, 1814.
A seven piece band from the beautiful Whangaroa Harbour, Northland. The year the gospel arrived at Oihi in the Bay of Islands, the first sermon was held on Christmas Day 1814. This is where they get their name from, hence, many of their songs conveying messages of peace, love and unity. Jah Rydem is their debut album, and they are currently touring the North Island promoting its release. It has a funky, R&B, reggae vibe, with a bit of culture. All band members can claim credits for the lyrics and the music. Also has Indian, and Caribbean influences on 2 of the tracks, giving this album an exotic mix about it as well. (Ethel)

A small turn of human kindness, Harvey Milk.
The story goes that Creston Spiers, lead singer of Harvey Milk, was heading home from a gig promoting their last album, the fantastic, Life...the best game in town when he read some fan-mail suggesting they'd sold out by releasing an album that was far too accessible. As a result he went straight home and began writing 'A Small Turn of Human Kindness'. Not that this album is particularly inaccessible but it certainly speaks to that particular disheartened fan by being thoroughly miserable. In many ways it's the perfect 'Harvey Milk' album, their sound, a mix of doom laden heavy rock and dirge like metal, is well suited to the slower numbers, not that they've ever been particularly fast, but this infernal opera plays out the destruction of relationships in lethargic despairing masterful steps. If you think it all sounds a bit depressing you're almost right. Yes, it is grim, but the fact they can harness such potent riffs is somewhat uplifting, the juxtaposition between the lyrical moroseness and musical transcendence is the key because, although ultimately it's all very sad it's also far too morbidly enticing to ignore. (Craig)

+Justments : expanded edition, Bill Withers.
Regarded by many as Wither's last good album, '+Justments' was the last album he made for Sussex records in 1974 after the classics 'Just as I am' & 'Still Bill' & 'Live at Carnegie Hall'. Never on CD before (it made a Mojo list of '67 Lost Albums You Must Own') the album retains the organic sound of his previous Sussex albums, and while the songwriting may not be as good it does contains some gems - from the wistful ballad 'The same love that made me laugh' to the vitriolic take on 70's hipsters that is 'You'. The Sussex label would collapse shortly after this, and be absorbed into Columbia Records, where Wither's would pursue a more glossy sound with hits such as 'Lovely Day'. This expanded edition from Australia's Raven Records includes 8 tracks from his out of print Columbia albums 'Making Music' (1975) & 'Naked & Warm' (1976). (Mark)

Nattetid, Taake.
There's metal and then there's METAL! 'Taake' is definitely in the later camp. It's not enough to say this album is just loud, or distorted or menacing or even a tad evil. It's way more then that, it's the distillation of one man's darkest misanthropic ideals into an oozing blackened form. Like all great Black metal there's the aggression and the nihilism, but the influence of Norwegian folk adds a dash of melody to the brew so while you're soaking in that malevolence you're also feeling a touch jolly about it all. There's no denying that Nattetid is an absolute essential piece of Norwegian metal, from its great wafer thin and treble pitched production all the way on through to its esoteric mysterious allure it has all the components that make metal great. Obviously not recommended for days when you've just been dumped, lost your job, been burgled or crashed the car. Aside from that, light a crimson candle, turn off the lights and dive in anytime. (Craig)

Grappling hooks, North Atlantic Oscillation.
An ambitious debut by this Scottish duo, "Grappling Hooks" displays their wide-ranging influences and a startlingly creative approach to making music. A mix of electronica, folk, prog and classic rock, the album never ceases to entertain and is my pick for debut of the year. (Neil)

True love cast out all evil, Roky Erickson.
Time has not been kind to Roky Erickson, after his trailblazing psychedelic work with 'Thirteen Floor Elevators' he was institutionalized repeatedly, given all manner of shock treatments, ingested lord knows how many drugs, both illegal and legal, and suffered from a fractured personality that left him confused and fragile for many many years. Frankly it's somewhat of a miracle he's here at all. So that being the case this album is made all the more magnificent by the mere fact Roky sounds more energized and focused than he has in years, this is no mere retread of some fading stars catalogue, no lackluster comeback, instead True Love... is the sound of a man rising from the ashes of his own destructive past. Vocally Roky is firing on all cylinders, he's nuanced and proves adept at drawing out some beautifully gravelly tones, and there's a reflective and not unwarranted wistfulness to his lyrics as well. Some might have wondered what a man so addled with his own demons might have to say that the rest of us could relate too, but picking carefully from unreleased material, with the help of Okkervil River's Will Sheff, we're treated to an array of heartfelt and accessible stories. It's fantastic that Roky is back, make the most of it while you can, who knows where he's headed next but if it's in any way down this same road then you should definitely pack your bag and get onboard forthwith. (Craig)

From the inside, Stan Walker.
Stan the man has been a very busy boy... not even a year since winning Australian Idol and already this is his second studio album: currently #1 on iTunes, and has entered the NZ Charts at #1, and the Australian Charts at #2. Wow what a buzz! "This is who I am, from the inside out" some emotive lyrics from the first track. This album is a look at, and a reflection of who Stan is, well away from the covers he did in his first album 'Introducing Stan Walker'. Taking the lead on the album is his hit single 'Unbroken' and his latest release 'Chose you', both making it into NZ's top 10 at some stage. Also on the album, a cover of Des'ree's 'Kissing you', as well as featuring with Rapper Young Sid in 'Stuck in a box' on the last track. Apart from those two tracks, this is Stan's first original album, co-writing four of the tracks, the rest of the album written and produced by some big names in the industry behind the likes of one of the biggest, Beyonce. R&B, pop and soul is this album's mix. The fact that he's even made it this far, is an accomplishment in itself and who knows, as he said in a recent interview... "Someday somebody be singing My songs!" You betcha! (Ethel)

Mostly Coltrane, Steve Kuhn.
In 2009 ECM celebrated its 40th anniversary and their leading artists such as Keith Jarrett and Jan Garbarek issued their searing new albums. The veteran pianist Steve Kuhn has also had memorable recordings for ECM and this new album has become a wonderful addition for both ECM and his own discographies. Kuhn is known for his lyrical play in his own trio as well as for working with Art Farmer and Stan Getz, but he once worked with John Coltrane for a short period of time before McCoy Tyner, and this album is dedicated to Coltrane. Classically trained, Kuhn's sensitive, delicate touch occasionally falls into mood-music like territory, but here, fuelled by Joey Baron's polyrhythmic colourful drumming, he plays with real passion yet still elegant. The guest Joe Lovano, who is not a typical Coltrane follower, also gets fired up and displays his versatility. The tunes here are mostly composed by Coltrane or made famous by his performances as the title indicates, but the music performed by Kuhn and the quartet is wonderfully original, not an imitation of Coltrane's sounds. The album closes with Kuhn's exquisite piano solo of his own masterpiece, Trance. Mesmerising. (Shinji)

La vie electronique. 2, Klaus Schulze.
German electronic guru Klaus Schulze has been reissuing his vast collection these past few years in multiple disc formats. La vie electronique is comprised of tracks recorded from 1972-1975 spread across three discs making for around four hours of some of the greatest proto-ambient and swirling trance imaginable. Klaus was at the forefront of electronic music in the early 70's and has continued his career on to this day, although it's best perhaps to stick to the 70's period lest you wander inadvertently into the 80's and encounter his rudimentary pop tosh years. He was well ahead of his time in many ways, pre-dating the arrival of ambient and trance by a decade. He was the master of synth composition and listening to his work now there's a marvelous sense of adventurism and experimentation. I'd be highly recommending this to anyone who is endeavoring to find something truly epic and relaxing. There's not a spot of new-age about it, so have no fear of encountering anything remotely cheesy, it's just one long electronic investigation after another. Deep, mesmerizing and profound. Four hours of revelations guaranteed. (Craig)

The fearsome feeling, Pie Warmer.
Edmund Cake is back! Well, Edmund Pie actually. Um, Edmund McWilliams, anyone... The change in name is important. Happening upon his work is like a happy mistake, a little revelation. Whether, Pie or Cake or McWilliams, the effect is similarly exciting - I've found him again... Ed is one of New Zealand's bonafide musical geniuses and 'The Fearsome Feeling,' is as eclectic, daring and strange as his other works of inspired mayhem Bressa Creeting Cake and Downtown Puff. In the mix are songs about the terror of being in love, the (relative) comfort of travelling in motorcars and breaking rules at school - 'Edmund - just you shut your mouth!' 'The Fearsome Feeling' is full of hooks, appropriately tasty instrumentation - Xylophones and strings, Guitars and pianos - and extreme feeling, adding up to a seemless flow of intrepid musical exploration. The front cover says, in typical restrained Ed Cake style - 'Piewarmer : a device found in most New Zealand dairies.' 'The Fearsome Feeling,' should be found on most NZ playlists! (Monty)

Ella & Louis, Ella Fitzgerald.
Life treating you mean? Incomings not meeting outgoings? Boss not understanding worker? Then stoke up the fire, pour yourself a nice fat glass of the best red you can afford and put this on the turntable. The mellifluous voices of Ella and Louis will charm you into thinking the world a better place in less than a minute. You can almost hear them smiling as they sing and their warm good humour radiates into the room. Louis has a couple of inspired bursts on the trumpet for good measure and there is some humorous hamming by the band leader. But above all it is the rendition of the lovely nostalgic songs of a gentler age which will work the magic for you. You will be reminded that these people had it far tougher than you and still managed to survive and thrive. (Sue)

Live au Bataclan 1973, Gong.
What's not to love about an album that kicks off with whale song. 'Gong' are a progressive rock band who began in the late 1960's, burnt bright for a few years only to fade away into the miasma of the ongoing foggy underground prog world. Born of the softer jazzier Canterbury prog-rock scene their music reflects a far more hippy and trippy outlook than many sterner prog bands, and 'Live au Bataclan' is a great example of some early 70's psychedelic meanderings. Don't go in expecting anything too structured and you'll be fine, like the best prog it's all about the journey, and as nonsensical as it all is, there's something heartening about hearing a band joyfully romp across a rather dated spectrum of music. Perfect for those days when you just want to listen to something a tad 'out there' without the sometimes off-putting pretentious vibe. (Craig)

Anthology, Burzum.
Separating Vark Vikernes the man (very dubious political ideals, convicted murderer and arsonist) from Burzum (his renowned one man black metal project) is sometimes a difficult task. His reputation within the black metal scene, and his representation in the media, often overshadows his work as an artist. 'Anthology' in part remedies that issue. Taken as a body of work it highlights his very raw primal beginnings and follows him through to his later more constructed works. Burzum occupies a crucial role in the second wave black metal scene, drawing his inspiration from the earlier works of Celtic Frost and Venom, but also incorporating Norwegian and European folk tales, and the regular dose of sub-par Tolkien meanderings. Musically, the disc is pretty much perfection; unprocessed, poorly recorded, dirty and utterly intimidating, it represents some of the best heavy metal ever recorded. (Craig)

Have one on me, Joanna Newsom.
I highly recommend the new Joanna Newsom album 'Have One On Me'. Its incredible; spiralling, whimsical notes with amazing catchy melodies in the middle of long meandering songs. Five steps up from her previous album. (Jessica)

Snakes for the divine, High On Fire.
Matt Pike, High on Fire's front-man, is a legendary figure in stoner rock circles for his work with his previous band Sleep, who managed to take doom rock into a whole other monolithic realm with their masterpiece, Dope Throne. After their break-up the rhythm section went on to form the highly acclaimed drone/folk outfit, OM, while Pike went on to form 'High On Fire', who have become renowned in the heavy rock scene for their propulsive and utterly captivating albums. Snakes of the Divine continues the roll he has been on for the last few albums with an intense charging album of classic stoner rock, fuelled from a base of solid metal, and featuring his trademark gritty and weighty guitar tone. If youre looking for something as fluid and reliable as Motorhead, you'll not be disappointed in HOF, this is a near flawless album of solid very-hard rock, full to the brim with enough Conan, Lovecraft and pot references to have you roaring along. (Craig)

Like it like that, Guy Sebastian.
Since winning the very first season of Australian Idol, Guy Sebastian has grown from strength to strength and has pretty much established himself in the music industry as a talented and recognised singer/songwriter/musician in spite of how he got his start. And to his credit this is his 5th album which includes 3 released singles. This album also features on 3 other tracks, John Mayer on guitar and backing vocals. (Ethel)

Megasus, Megasus.
Sometimes you just want things to be nice and simple. Megasus provide that in abundance with uncomplicated bombastic riffs galore. If you want rock, you got it! Made up by members of the same software company that has developed the Rock Band and Guitar Hero series of games, Megasus roar out of the gate, pummel you with 40 minutes of Sabbath and Electric Wizard fuzz and draw things to halt with nary a pause for breath. Wonderfully crushing without a touch of irony, it's marvellous to see a band power along without a care in the world. Who cares about playing to the hip crowd, or worrying about sophistication, theres something inherently primal about all those big fat dirty chords; for those about to rock, we salute you! (Craig)

The concrete twin, Mick Karn.
Using his fretless bass guitar, the amazing musician from Japan Mick Karn shocked music fans in the late 70s, but has not had much luck since Japan was disbanded. After Japan broke up, he first formed Dalis Car with Bauhauss vocalist Peter Murphy, then with former band mates such as David Sylvian and Steve Jansen, improvisation-aimed band Rain Tree Crows. However, both managed to make only one (great) album. In the 90s, he teamed up with the exceptional avant-garde guitarist David Torn. It became the news and made tours but again was short-lived. In the recent years, he has put out his music from his own label without much attention, and now is suffering from cancer and facing financial difficulties. In this latest album, he plays all instruments himself except drums and displays his usual style, belonging to nowhere, refusing to be categorised; an avant-garde art rock world. Although his unconventional, undulating bass sounds and phrases are, as always, strongly present here, it is rather dark which may reflect his current situation, and solitary could be the word to describe this album. I just hope this will not be his last. (Shinji)

Phaedra, Tangerine Dream.
Phaedra is Tangerine Dreams most realized album, it's not necessarily their best album overall (thats a matter of much debate amongst, well... geeks like me mainly), but it certainly represents the pinnacle of their studio electronic powers. An assortment of ambient tracks, progressively lengthy, with swoosh's of primitive loops, keyboards washes and beautiful, haunting synthesizer effects. Massively influential on the contemporary electronic scene, without this there would never have been an acid house explosion or raves for that matter, and forget trance, ambient or anything downtempo. This album (ok, and a few others) pushed electronic music into an entirely new direction, where expansive, searching and progressive sounds were created expressly to aid introspection and reflection. Yeah, sadly this is to blame, in part, for new age music as well. But we'll forgive them because Phaedra sounds as good today as the day it was released (probably, I was three at the time), its a magnificent swirling dreamy opus thats comes highly recommend for anyone who wishes to take pause and simply drift. (Craig)

Jersey Boys : original Broadway cast recording, Bob Gaudio.
The 'Jersey Boys' is the Broadway musical based on the story of Frankie Valli & The Four Seasons. And I can with great delight say I recently saw this show live in Melbourne. Brilliant visually, and even more so vocally, the vocal talent of this cast is outstanding. This CD is the Original Broadway Cast Recording produced by Bob Gaudio who is one of The 'Original' Four Seasons, has been condensed into 53 minutes of a two and a half hour show for your listening pleasure. The story follows how Francis Stephen Castelluccio became Frankie Valli 'with an i' and the formation of the Four Seasons, & took the world by storm in the 60's. Of Italian heritage living in New Jersey, USA, hence the name Jersey Boys they were dropouts and gangsters, apparently the fashion back then, but they loved to sing on street corners, or the front steps of their homes. They shared a dream that music could take them to a better place. And when it did, pop music would never be the same again. The harmonies, the powerful falsetto singing voices, were as natural and as captivating as their story. This 'is' their story, where it all began. Take a walk down memory lane to the tunes of 'Sherry', 'Big girls Dont Cry', 'Walk Like A Man' and 'Rag Doll' to name but a few of their many timeless classics and number one hits. And what better way to complete, not to mention 'compliment' this live show of very talented singers & actors, than to have The 'Original' Four Seasons singing live, the last two songs, absolute bliss! (Ethel)

Dimensional bleedthrough, Krallice.
Mesmerizing black metal (sans the corpse paint). New York's 'Krallice' are on the leading edge of what many like to term 'hipster' metal (that's all the metal minus the cheese, all the fury and none of the facileness). That's probably doing them a disservice though, because the mere fact they are so good, and attracting a crowd from outside the usual black metal circles, shouldnt mean they should be tagged as anything more than the guitar geeks that they really are. Made up from members from New York's elite experimental and metal underground, including folks from, Behold... The Arctopus, they provide a veritable thrill ride of intelligently sinful riffs, with the usual black metal multi-layered tremolo picking overlaid with the kind of putrid vocals it is famous for. It's all very sinister, very clinical and extremely clever. Highly recommended for the kinetically deficient. (Craig)

Siwan, John Balke.
Norwegian pianist, composer Jon Balke is no stranger to the ECM label, but his collaboration with Moroccan singer Amina Alaoui is intriguing. Apparently the parts of Iberia Peninsula in Spain that were ruled by Muslims until the end of the 15th century (forgotten after Christians conquered) was called Al Andalus, and Alaoui has been trying to preserve its music. Balke weaves Alaoui's vocals (lyrics are from poems from the region) with sensitive ensembles that are mixtures of Muslim, North Africa and Baroque music with modern vibrancy. The music is beautifully crafted and all musicians perform marvellously to make this unique project really valuable. The trumpeter John Hassell make a great contribution, and the tunes he appears on somehow give a similar impression to his Fourth World sounds. A beautiful music scroll. (Shinji)

Axe to Fall, Converge.
What hasn't been written about the mighty Converge, a band which virtually invented the genre of metalcore with their mix of hardcore's viciousness, a ferocious DIY spirit and some of the best drop tuned overwrought and messed up riffs in musical history. They've been gigging and recording for two decades now, not that you'd know it, there's an intense aggressiveness about them that belies their age. If you're after insightful, complex, intense hardcore, with a splash of noise attached, then you'd find none better than the leaders of the pack. Converge; frighteningly good. (Craig)

Deutsche elektronische musik, Isis.
Compilations are usually hit-and-miss affairs, so it's wonderful to discover one that is just faultless, from first track to the last. Out on the always-reliable Soul Jazz label, 'Deutsche elektronische musik', is a blazing two disc compilation of some essential Krautrock tracks from the early years. With tracks from luminaries such as Can, Faust, Tangerine Dream, Ash Ra Tempel, Cluster and Neu! It would be my absolute first choice pick for anyone wanting to investigate the world of psychedelic German motorik rock. The album features both previously released and more obscure tracks and is a flawless jaunt through the undiscovered world of proto-punk and electronica, experimental space-bound jaunts, and of course the murky void of ambience and drone. Highly recommended for the uninitiated and the jaded. (Craig)

Foxbase alpha (deluxe edition), Saint Etienne.
Originally released in 1992, 'Foxbase Alpha' was Saint Etienne's debut album. Still not fully formed as a band, as singer Sarah Cracknell had yet to become a full time member, 'Foxbase Alpha' was the sound of former music journo's Bob Stanley & Pete Wiggs tinkering around in the studio, figuring things out as they went along - fusing elements of the then current house music scene, dub, experimental noodlings, odd samples, kitsch dialogue snippets, and of course a love for Dusty Springfield & the 60's pop sound. In the end it's more interesting as a precursor for what was to come than any unified statement, as it only hints at the consistently high quality output and lasting impact Saint Etienne would make over the next 15 years. This 2009 deluxe edition features a second disc of fairly solid demos, B-sides, and other unreleased noodlings. Has some great liner notes also. (Mark)

Blood Oath, Suffocation.
New York death metal titans Suffocation have been churning out solid old-skool metal for near on twenty years now and although their latest release, Blood Oath, doesn't add anything particularly new to their mix of cookie monster growls and head-down stomping blast beats, it does happen to be something of a high mark for the band. While death metal is not a realm known for its subtleties, Blood Oath just happens to be the kind of album that gets a little more rewarding each time you listen. Perhaps it's the clinical precision of it all, or maybe it's the fact they're just so tenacious, it's admirable after all that a band with two decades of releases behind still manages to write some furious and innovative riffs whilst still sounding enthusiastic. Whatever the case, if it's dense, fast, heavy and rudimentary death metal you're after then Blood Oath is a fine choice. Teaching those young upstarts a few lessons still. (Craig)

All the blue changes : an anthology 1988-2003, No-Man.
Porcupine Tree's front man Steven Wilson began No-Man with singer Tim Bowness in 1987, in the same year he formed Talk Talk more, and in fact, they are the only artists who can fill the absence of Mark Hollis. (Shinji)

Jesus dread : 1972-1977, Yabby You.
I was really sad to hear of the passing of dub and reggae star Yabby You earlier this year and thought it time to revisit some of his best work. Yabby was a bit of an enigma in the dub scene because he held onto his Christian beliefs rather than take on Rastafarianism and his best work, captured here on the Blood and Fire labels Jesus Dread compilation is a fabulous collection of some of the finest righteous sounds ever to emanate from Jamaica. Everyone argues about who is the best, but in my mind Yabby sits right up there in my book next to Big Youth and Prince Far-I, although not as well known as some dub superstars, his work speaks for itself, I heartily recommend this album for no reason other than it is simply divine, or as Yabby says, "like a strange ting, inside a my thoughts - like an angel a sing". (Craig)

Quarantine the past, Pavement.
A Pavement 'greatest hits' CD seems a tad ironic, given the band went to great lengths not to have anything resembling an actual commercial 'hit song'; however this roundup of the groups 5 album output is a fitting testament to the greatest indie rock band of the 90's, perhaps of all time really. Creating a virtual 'indie' template, no other band that followed has managed to capture the angular melodies, subversive song structures, fractured guitar riffs, and cryptic wordplay that defined Pavement's sound; and what becomes apparent as the 23 songs unfold is firstly just how many are familiar, even if you were only ever a casual fan of 90's alternative music, but also just how fresh & engaging they still sound. With 'indie-rock' having achieved mainstream status in music, it also brings into focus the samey anonymous nature of so many of today's indie bands and also how, with the changing nature of music dissemination from PitchforkMedia to music blogs breaking bands like Arcade Fire, The Fleet Foxes, and Grizzly Bear to great success, that Pavement never achieved their full due. 'Quarantine the past' is a good place to start if you've never listened to the band before and if you have, it's a reminder of just how great they were. (Mark)

II, Lindstrom.
Sometimes you just want to bliss out and sometimes you just want to groove. It's the in-between that's difficult to soundtrack. Thankfully Lindstrom and Thomas have successfully come up with a solution. 'II' is an album that cruises along with sultry electronica, a touch of house here, a bit or world music there, drop down into some trance for a bit and then off to ambient land for a while. It's got everything, and best of all it shares absolutely nothing with any of the generic soft-pop-electronic garbage you'd normally associate with a word such as 'relaxing'. It's great, insightful, surprising, a definitely clever and fine album for anyone looking for a little something in the middle that's not going to insult their intelligence. (Craig)

Battle studies, John Mayer.
Break-ups, make-ups, goodbyes, crossroads, friends & lovers, make up this catalogue of songs aptly titled 'Battle studies' and in classic John Mayer melodies, character and style, he keeps us absorbed in his lyrics. Leading the way is the single 'Heartbreak Warfare'. While his guitar gently weeps, blues/pop and soul I think is this mix. (Ethel)

Cosmogenesis, Obscura.
If you're after something a lot more technical than Suffocations latest bludgeoning assault then perhaps Obsucra will do the trick. This young German band, made up from ex-members of such revered death metal outfits as Necrophagist and Pestilence, released this album in 2009 to massive -MASSIVE- critical acclaim. It's a technical metal triumph of whip snapping, often discordant, riffs and infinite multi-layered solos. It's all almost too much, too clever, too fast and far too calculated, but if you're a fan of jaw dropping fret work and drop tuned heaviness mixed with those deathly guttural chants then it's absolutely perfect. If you're after some impressive metal prowess then this is the one. Das ist gut mein freund. (Craig)

Xinti, Sara Tavares.
The Portuguese singer-song-writer Sara Tavares, whose parents are from western Africa's island, Cape Verde, became a star in her native country with the album Yusa as both have created a hybrid contemporary black music led by their own acoustic guitars. While not sensational, this is a lovely listen. (Shinji)

Love Comes Close, Cold Cave.
Cold Cave is fronted by former hardcore vocalist Wesley Eisold, but you can forget any connection to his past on this release. Cold Cave is his experimental synth/electronic project, and about as far removed from his previous work as you can get. 'Love Comes Close' is essentially waves of indistinct vocals smashed up against the soft/loud dynamics of euro-trash pop and electro, all being smothered in an ice-cold ambience. There's something refreshing about this album; perhaps it is Eisolds desire to take essential pop elements and distort them which makes the project so deliciously insidious, or maybe it's simply that I admire his courage in deconstructing what could have so easily been a simple electro-clash album. Whichever it is this is a great album, loaded with intelligent electronica designed to make one pause and consider. (Craig)

Aboriginal soul
The soul of Indigenous Australia, visualize the body paint, the magical sound of the didgeridoo, features contemporary indigenous music as well as established artists. Songs inspired by their history expressed with pride, passion and some despair. A mix of English and Aborigine, some bush poetry, hints of rock and jazz with electronic influences, country and folk, but all embracing this album... is contemporary Soul! (Ethel)

The red sea, Isis.
'The Red Sea' was an early e.p from Isis, and this re-release sees the original Isis demo tagged on as well. There is nothing of the sophisticated post-rock ambience or quiet/loud dynamics associated with Isis these days on this release - this is very much a work which reflects an Isis still finding their feet in the world of avant-metal. There is plenty of sludgy grinding metal and there are hints of what is to come with the riffs weighty and thick, but this is a far more direct and furious Isis than we find on their later works. Not to suggest their lack of finesse on this e.p is in anyway detrimental, because it is not. Red sea is raw, it is definitely massive, and like many bands early works it is passionate and sincere. (Craig).

Contra, Vampire Weekend.
A worthy follow-up to the band's self titled debut album, 'Contra' is eccentric, eclectic and musically exciting. It is a fun, well thought out album which is a pleasure to listen to. Great guitar and bass sound too, which is a credit to band member Rostam Batmanglij who produced 'Contra'. (Rowan)

Dos, Wooden Shjips.
Wooden Shjips create dirty psychedelic tumble weed rock. It is outsider desert rock galore over these two albums, with Dos being their official second album and Vol 2 a collection of rarities and live tracks. There is nothing wildly different between the two albums, Vol 2 being a touch rawer due to the split e.p tracks and singles on it, but both albums are essentially the sound of band who has spent a long time wandering the stony hills of Nevada, ingesting some very interesting substances. Big fat riffs, smokey overdriven tones, you know the score, and fuzzy blurry stoner jams. If you are at all a fan of Fu Manchu and Kyuss you should definitely check either of these two albums out for some dusty ragged glory. (Craig)

Zii e zie, Caetano Veloso.
Caetano Veloso is undoubtedly one of the greatest artists Brazil - which abounds with musical talents - has ever produced. He has addicted fans all over the world and has been admired and respected by many artists including David Byrne, Beck and Nelly Furtado, to name but a few. Pedro Almodovar is also a big fan of him and you may remember him singing in Almodovar's movie 'Talk to Her'. In the 90s he achieved utmost elegant, impeccable music, but in 2006 at the age of 64, he began a 4 piece rock band with talented young musicians and issued the album 'Ce'. This 2009 album is the much anticipated follow up album by the same band. The word 'TRANSAMBAS' is on the jacket and it perhaps indicates that samba is the hidden key of this album, however there is no typical samba or rock 'n' roll numbers. The sound here is rather simple and eliminates unnecessary gloss to use space. The guitarist Pedro Sa takes a huge role to create this radical Caetano-ic alternative rock. Caetano Veloso's music is often profound. Some of his albums in the 60s and 70s did not get warm receptions at that time but they are now regarded as masterpieces. This Latin Grammy award winning album may not give you a big impression on the first listen, but I know I will be still listening in 10 years time. (Shinji).

Operation Mindcrime, Queensryche.
'Operation Mindcrime' is the greatest concept album ever recorded. No seriously, it is. The tale of a streetwise criminal turned junkie, his saviour, a dubious doctor, and there's a priest, and nun and some other folks in there to somewhere. I'll be honest, like the best concept albums it makes little sense, but who cares, it's just a load of wiggly solos and crashing drum magnificence. 'Operation Mindcrime' was a smash hit in the 80's for Queensryche, an epic bombastic overload of operatic vocals layered around some of the best prog-metal available. Fast forward to the 90's and Queensryche, somewhat in need of a career boost, decided to record a sequel kudos to them as well, they used the same equipment and recording techniques as the first album to give it that fulsome 80's feel. Both albums are perfect heavy metal masterpieces, loaded with ridiculous amounts of pomp and cliché there's no finer examples of the excess and superfluousness of progressive pursuits. (Craig).

Conditions, Temper Trap.
'Conditions', the first full length album from Melbourne band 'The Temper Trap' features soaring guitars and angelic vocals - most people would have heard their debut single 'Sweet Disposition', which featured on the '(500) Days of Summer soundtrack'. (Rowan).

By the Throat, Ben Frost.
Ben Frost's 'By the Throat' is a dark ambient droning trip into the nether world of eerie experimental electronica. Combining elements of doom with equal measures of intimate drone this is a headphone masterpiece. Immensely creepy and utterly beautiful in parts, 'By The Throat', was a critical underground favourite in 2009, topping the best-of lists of many experimental and alternative music sites and magazines. Dashes of noise, found sounds and spiralling disjointed orchestral pieces are mixed with the howls of wolves, the squeal of IDM, and the blasting grimness of bands such as Merzbow or Sunn O))) . A fascinating and original work, easily the best experimental album from 2009; for fans of intense dark cinematic soundscapes you'll not find better. (Craig).

One-armed bandit, Jaga Jazzist.
Since their debut from the major label in 2001, Jaga Jazzist's unique sound has attracted not only music fans and the media but big artists such as Omar Rodriguez-Lopez of The Mars Volta and Flying Lotus, and John McEntire did the mixing for this new album. They are the biggest album selling artist in Norway and a great live act as well (all 9 musicians play several instruments on stage). Electronica and jazz are the obvious elements of their music but categorising would be nothing but useless. Apparently they tried to integrate Fela Kuti and Wagner for this new album but the music here is, as usual, like a toy box of all sorts of music. However, it is well organised with interesting arrangements. All instruments - horns, woodwinds, electric guitars, vibraphone, bass, keyboards and colourful electronics - are well controlled and mixed organically to create superb groove and danceable sound. Fun to listen to. (Shinji).

Under the jaguar sun, Nadja.
Nadja specialize in feedback soaked shoegaze from the heavier end of the spectrum. They are incredibly prolific, and Jaguar Sun was one of three album releases for 2009. A double CD, comprising two movements; Tezcatlipoca/Darkness, on the first disc and, Quetzalcoatl/Wind, on the second, the album unfolds with a slackened, claustrophobic pace. Nadja are masters of manipulation and density, and this album, like all their others, is rich with textural changes and sifting layers of distortion and amplified trickery. Obviously the album is a homage to ancient gods, and although there is nothing historical in their approach, Jaguar Sun, still manages to express a sense of reverence and mystery. Smothered in all that feedback and murk there's a tale being told. I'm none the wiser after listening but the journey itself was mesmerizing. (Craig).

Love in motion, Anika Moa.
This is Anika's fourth Album. The lead single 'Running through the fire' currently hitting the airwaves is catchy and appealing and all tracks relate to 'Love in Motion' of some kind. Her third album 'In swings the tide' is a Country/Pop mix. This one I think is more Pop/Easy listening; in typical Anika 'out there' fashion, she describes it as "choice". It is good, and easy to listen to. Relax, sit back, enjoy. (Ethel).

Superfuzz bigmuff, Mudhoney.
A thrashing 1988 Mudhoney masterpiece re-released, with extras tagged on: Mudhoney weren't the first 'grunge' band by any means, but their retro sub Stooges and MC5 sludgy punk certainly put Sub Pop and Seattle rock on the map. To mark Superfuzz's twentieth anniversary Sub Pop has expanded the original E.P. out to a thirty six-song sloppy guitar dirge, plus an entire live gig from Germany in 1988. It's a glorious trip back to when rock wasn't afraid to get down and dirty, and one's influences were bold and to the fore. Forget all those second wave grunge superstars and take a lesson from the masters of fuzz. (Craig).

End Times, Eels.
Less than a year after the loose 'Hombre lobo : 12 songs of desire', the E man is back with another CD. Unfortunately it's all a bit of a downer, as 'End Times' is E's 'Heartbreaker', his 'Tunnel of Love' divorce album. Chronicling the scope of his relationship from its sweet beginnings ('The Beginning'), to arguments & recriminations ('A Line in the Dirt'), to the loneliness, mortality & regrets of 'Little Bird'. Pretty gloomy for the most part, but Everett's skill as a writer is always in the small details of life, so while this is somewhat depressing it never wallows in extreme self pity. And E can still see the funny side of things - like having to whizz in the garden because his missus has locked herself in the bathroom. The closing track 'On My Feet' sets up a final hopeful tone, but man, this guy sure has his share of bad luck and then some. (Mark).

De mysteriis dom Sathanas, Mayhem.
Evil personified finally arrives on the catalogue, with a crucial album from the most notorious black metal band ever. The history of black metal is replete with enough murder, sinful pandemonium and malevolence to fill a book, actually it did, Lords of Chaos, available right now on the catalogue!. But the history of Mayhem themselves is ungodliness taken to the extreme. Coupled with their raw, and absolutely brilliant, primitive musical assault, De Mysteriis is a seminal album, released not long after the after the murder of founder Euronymous, it is an essential, massively influential release from their early years. Waves of wickedly blurred riffs smother smudged aural blackness overlaid with shrieking unintelligible wailing. Wonderful stuff, indeed. (Craig).

Cartography, Arve Henriksen.
A key member of jazz/avant-garde group 'Supersilent', Arve Henriksen is probably the most unique trumpeter we have seen. His trumpet play sometimes sounds like the shakuhachi (Japanese bamboo flute) - I didn't think it was trumpet on my first listen. His name has become increasingly recognisable for music fans, as he appeared on David Sylvian's project album 'Nine Horses' and Tunisian singer Dhafer Youssef's 'Divine Shadows'. He is also familiar to ECM fans for his work with Trygve Seim and Jon Balke amongst others. Releasing his own album through ECM was a surprise because he and Supersilent are the stars of wonderful Norwegian label, 'Rune Grammofon'. He is an excellent architect of sound as well as a good trumpeter, and this album, his fourth but first for ECM, is woven by number of different recordings and discrete pieces. Skilful post production has been applied and creates a lyrical but somehow cool soundscape. It's almost beatless and atmospheric but David Sylvian's poetry reading and choir give variety. It's the darkest outing by him to date and a little bit too ECM-ish but still, a beautiful collage work of music. (Shinji).

What we all come to need, Pelican.
Chicago instru-metal band Pelican have been pumping out sub metal and post-rock dirges for a number of years now and on their latest album nothing much has changed except for the tone, and that is the key. Dynamics always play a role in great instrumental rock, and Pelican have perfected their tone on this album with a heavier, more intense vibe than their previous few. Signing to Southern Lord, home of such luminaries as Sunn O))) obviously helped, there's a renewed focus on honing their song structures rather than just getting flashy with their leads which makes for a more listenable, complete album. If you're a fan of Mogwai of Jakob's heavier moments you should definitely check this out for a taste of some wondrous overwrought riff escapism. (Craig)

Tuesday night music club : deluxe edition, Sheryl Crow.
In a move that would never happen today, Sheryl Crow & her record company agreed to shelve her first album, a slick pop album produced by Hugh Padgham (who had gotten her signed to the label) that supposedly cost around $40,000. Instead she hooked up with a casual collective of LA musicians who would meet for jam sessions at the studio of producer Bill Bottrell. After time these sessions became cantered around Crow, the only one of whom had a current recording contract. Released in 1993 'Tuesday Night Music Club' didn't make much headway, until the summer single 'All I Wanna Do' hit big, launching the album, which went on to sell millions, & establish Crow's career. This 2009 'Deluxe Edition' includes some catchy B-sides, contributions to 'The X-Files' Soundtrack & a Led Zep. tribute album, & 4 tracks recorded with Bottrell for a follow up album, that remained unreleased when the two fell out. Being such a collaborative effort, the original album sounds at times like a bunch of unfinished jam sessions, but it still retains a ramshackle charm today. (Mark)

Kiss my sweet apocalypse, Black Sheep.
Post-punk weirdo supreme Juilan Cope returns with a bunch of bearded malcontents to produce an album of improvisational space tinged political rock. By no means a cohesive or a frankly sensible album, Black Sheep's debut reeks of anarchism and anachronisms with every conceivable instrument thrown into a stew of Kraut-metal-experimental-folk-psychedelic escapist rock. A homage to the disgruntled, the stirrers and the revolutionary, the album works best when you're tuned in to Mr Cope's militancy and ready to indulge in a journey often without end. (Craig)

3, Susanna and Magical Orchestra.
Despite the name, this is a duo unit by singer, Susanna Wallumrod and keyboard player, Morten Qvenlid. Their biggest influence is jazz but their music seems to be beyond jazz and it's more like ambient singer/songwriter or new age folk music. The world made up from Morten's subtle and profound sound settings and Susanna's dark, delicate but resolute vocals have already been well established. For this new album, a number of guests including Helge Sten (Supersilent) and Andreas Mjas (Jaga Jazzist) are invited and more melancholic, colourful sounds than the previous albums are featured here, yet still, it's quite intimate. Whatever the sound productions may be, the driving force of the music is always Susanna's vocals. It's still but powerful, like the beauty of the night sky. Stargazing music? (Shinji)

12 Crass songs, Jeffrey Lewis.
Jeffery just made it all up as he went along, half remembered punk from the most critical crust band ever. A hugely entertaining acoustic trip back to when bands mattered. (Craig)

A strange arrangement, Mayer Hawthorne.
Interesting stab at recreating the classic sound of 60's soul. 'Mayer Hawthorne' is the pseudonym of DJ/Producer/songwriter Andrew Cohen, & was signed by Hip-Hop label 'Stones Throw' when the label head thought he was listening to a bunch of lost soul singles. It's hard to fault the musicianship on display, as Hawthorne plays most of the instruments himself, and the songs themselves evoke everyone from the Temptations, to Al Green, Smokey Robinson & Curtis Mayfield. There is an obvious love for the genre at play, and as a whole it veers more into a tribute to the classic soul sound, rather than incorporating a lot of the more hybrid influences of 'Neo-soul'. At the end of the day it all sounds good...but it does tend to beg the question as to why you would want to listen to a facsimile of a Smokey Robinson or Temptations track, say, when you could just actually listen to a real Smokey Robinson or Temptations track. Anyway, worth a listen if you like that classic soul sound. (Mark)

Fighting the world, Manowar.
It goes like, "fighting the world every single day, fighting the world for the right to play, HEAVY METAL in my brain, I'm fighting for metal cause it's here to stay!" Quite who Manowar were fighting is up for debate because they were on one of the world's major record labels when they wrote that in the 1980s but don't let irony, or stupidity, stop you from indulging in some metal the way it's supposed to be played. Manowar are the loudest band in the world, and they still are partial to oiling themselves up and throwing on the furry loincloth for a photo shoot, plus they are HUGE in Germany. Big dumb blasting 80s riffs, absolutely ridiculous lyrics and motorbikes on stage. It doesn't get any better, or hairier. An essential album to complete any true metal fans collection. (Craig)

Playing, Bugge Wesseltoft.
In Japan there are cafes called jazz kissa (jazz café) where jazz is always played. In the late 90s, one jazz kissa owner stated that every time he played Bugge Wesseltoft's 'New Conception of Jazz' the customers stopped what they were doing with wondering faces and often asked him what it was. His New Conception of Jazz series, which roughly described is acoustic jazz plus house and techno elements, are great works that expand the area for jazz, and somehow give you an illusion that time has stopped or that the temperature's dropped. Wesseltoft is a key person in the Norwegian jazz scene as a pianist, producer and the owner of the intriguing jazz label 'Jazzland'. He has been concentrating on solo performance in recent years. This 2009 effort is also a solo album with acoustic piano accompanied by percussion, electronics, vocals, etc. Although everything is performed by him, the album offers colourful sound textures; from his spare but stunningly beautiful piano solo to the piano as a percussion tune. He never forgets humour, either. There is a most unusual cover of 'Take Five' and a tune with his funky call, "Oh, Yeah". He is a versatile artist and this is just one of many sides he offers - but worth checking out. (Shinji)

The boy who knew too much, Mika.
I really like the Rain of Mika's album 'The boy who knew too much'. He is very entertaining and like a breath of fresh air. He writes all his own material and is very intelligent so that's all folks!!! (Max)

Earthly delights, Lightning bolt.
Bringing the noise once again Providence, RI, based Lightning Bolt layer on the simplest of set ups to create some murky, blasting furious noise. Bass and drums, and more bass and drums, a few other squeals thrown in, and that's all it takes to make a cacophony of tracks with a propulsive core. Alt, indie or experimental, who cares, when you're thoroughly sick of the mundane, and totally bored with your own existence there's nothing like a dose of the Lightning Bolt to remind you there's always time to get up and thrash about. (Craig)

At the cut, Vic Chesnutt.
There is some edge to this final collection of Vic Chenutt's. I hear Vic Chesnutt loved a good collaboration and the person who decided that Guy Pichioto of Fugazi and band 'God Speed you Black Emperor,' should reunite as they did on 'North Star Deserter' has earned my undying adulation and adoration. 'North Star..' roared and was over produced but 'At the Cut,' is like a fine dinner - every ingredient has been thought through; the guitar platter can be spicy to start but delicate when required; Vic's voice is piquant and adaptable to most courses, possibly a bit raw but that's why we like it; the lyrics are tangy, juicy and honest, simple, but aren't the words well chosen - fresh produce from Athens Georgia, no less. Not everything on the plate is as palatable - 'It is What It is' explores a man's life in mid-life and finds him still fighting. 'Flirted with you all my life' takes on death and even suicide and finds a man, '..not ready.' The woozy, lazy, delicious 'When the bottom fell out,' bows out in understated style - as Vic would have wanted, '... and when I finally crash into that verdant grass/I will say it's been pretty great to know you.' (Monty)