Instead of turning this into a musical mishmash, Mallory does give a personal and unifying musical sense to all his influences, giving promise of greater musical things to come.

Gaadge has a tight, rocking sound that works, and as in many other instances that is quite enough, thank you.

It is definitely music on the edge, which Reich casually crosses as she pleases, coming back with ease, and creating some immaculate sounds along the way.

Listening to the seven tracks here, you realise why Wallis decided to take this route, touching exactly the pulse and the sound of the ambient country to a tee, with excellent results.

The seemingly light music and more serious themes form a counterpoint that makes them work together in excellent unison here.

And it all works so well together, all there sounding different and then as something created by one mind and concept, as it was.

Without being formally aware of any musical formulas, rules, or genre boundaries, Ahmad approaches his music with a child-like enthusiasm and innovation, coupled with extensive experience as a resident DJ.

In many ways, the album cover fits the music within, which on one hand has these dark overtones, and on the other, still is moving in its dark beauty.

Essentially, Lucille shows how ‘basic’ singer-songwriter music can sound good.

Feder doesn’t actually use direct musical quotes, but picks up tiny strands of other’s music and then arranges them in a manner that he sees fit.

Nouat manages to give both the spoken word and the music he combines a balance that such a combination requires.

On the evidence of ‘Mynd’, Pike has both the ability and inventiveness in abundance to carry him through something that could have been just a mundane musical impression.

The key to why this album works is that McClintock has a nifty touch with song structures and layered arrangements that give his music here that extra touch.

What could have turned into an incomprehensible mishmash comes out as a great-sounding post-punk experiment.

There is no chaos here, just an excellent set order, that sounds both familiar and different at the same time.

Frankly, Bousfield makes the point she intended in full presenting her ‘Salesforce’ as a complete musical force.

All of the interpretations here are almost perfect, with Wagner’s intricate touch shining throughout.

It is exactly that emotional involvement that gives Suburban Spell’s ‘Falling Down’ that elevates the electronic sounds to another level.

They could really become special friends with this kind of music.

Here, Faunas cover a much wider ground by staying true to their initial concept and sound, something it takes other artists a few albums to achieve.

The key thing here is that Lanayah were able to neatly wrap up all the influences and present them in a cohesive (and very heavy) whole.