Well, who would've thought ... the Phoenix Foundation does disco-tech?
Don't get too excited.
As this decade becomes overrun with ADHD-enhancing EDM, Tom and Ed Chemical steer us back towards the mid-'90s techno boom with their first release since 2010's underwhelming Further.
The three mainstays of Australian folk-roots-pop outfit The Waifs, Vikki Thorn, sister Donna Simpson and Josh Cunningham, apparently struggled to come up with material for this album yet, on balance, that's barely apparent given the assured quality of the compositions and the off-the-cuff class with which they are rendered.
Having been released as a limited-edition vinyl pressing for Record Store Day, Long Beach, California, indie outfit Cold War Kids' Five Quick Cuts has filtered on to other formats and a good thing, too.
Jill Scott cites country music as an influence for this album of emotional-closet cleaners, but it is Philly soul, smooth funk and R&B all the way.
Aaron Tokona (Cairo Knife Fight) seems to regard his other key musical project, Ahoribuzz, with a little more abandon.
The debut LP from New York-based multi-instrumentalist Elliot Moss is a sparse affair, rife with tender electronic burbles and hushed vocoderised intonations sprinkled with the most subtle frosting of guitar histrionics.
The man behind Avalanche City, Silver Scroll winner (for Love Love Love) Dave Baxter, asked his childhood hero, former Death Cab For Cutie guitarist Chris Walla, to mix We Are For The Wild Places and the result is a slick sophomore album that might be cloaked in folk threads but, at heart, is a pop record full of hummable ditties (Keep Finding A Way and Fault Lines for example).
This vehicle for Bright Eyes frontman Conor Oberst's power-punk alter ego last delivered an album in 2002, and since then it seems he's been building up a head of steam.
Sometimes the simple things are the best, and the trick of Melburnian troubadour Courtney Barnett's debut full-length release is the ease and every(wo)man charm at the centre of it.
There is a tension in Muse's latest studio effort that has nothing to do with the interplay between frontman Matt Bellamy's guitar histrionics and the dexterous rhythm section.
It's no surprise to find a bellicose Neil Young once more coming out slugging against ''the corporations''.
For each recording project to date, Dunedin-based ensemble Subject2Change has set itself a progressively more challenging goal and for album No4 the chocks have been pulled away to allow improvisation to power the set.
The debut full-length effort from Jamie Smith (one third of indie pop outfit the xx) seems aimed for the ambient-inclined rather than those looking to shake their booty.
Former Killers frontman Brandon Flowers claims his latest solo effort is no great departure from the work of his once headlining band.
From the opening bars of White Sky that sound like Paul Weller has been discussing songcraft with Jack White over whisky and cigars, Saturns Pattern is as unswerving Weller as his meticulously coiffed signature barnet (hair-do).
Given the loose muscularity and musicality of Sam Hunt's recitals, it's little wonder the Kiwi poet's free-ranging collaboration with Dunedin act David Kilgour and the Heavy 8s makes such sense.
Scottish band Django Django combines art school indie rock, '60s pop and electronics in a resourceful, if not compelling, way.
Well, you can sure judge this book by its cover.