Having scratched, sampled, and mixed and matched his own curious amalgam of ragged electro hip-hop over a career spanning some decades, DJ Shadow's latest effort is a salute to popular entertainment, from the video game bleeps of Three Ralphs and Mambo, to the distorted submarine pings that are fused to weird-as Spanish guitar and a military snare beat in Depth Charge.
A tribute album of Grateful Dead covers put together by the Dessner brothers of The National and worked into a massive (59 tracks) compilation that is defined by its consistent quality.
The sophomore album from Broods finds Los Angeles-based Kiwi siblings Caleb and Georgia Nott adding rather than subtracting to the recipe that made their 2014 debut, Evergreen, a compelling, ethereal listen.
The fourth instalment in Australian legend Jimmy Barnes' deeper exploration of soul is possibly his best, perhaps because he has dug out lesser-known tracks here (the notable exception is The Dark End of The Street).
A good decade and a-half since the pop-punk band's heyday, the latest album from Blink-182 is its first without co-founder and co-singer Tom DeLonge.
Clearly, there's something in Perth's water supply, as the city has given rise to its fair share of musical mavericks over the years - The Sleepy Jackson/Empire of the Sun, Tame Impala - and now Methyl Ethel, a trio tethered to a woozy blend of psychedelic soundscapes and melancholy soul.
The key songwriter within Kiwi outfit Goodshirt, Gareth Thomas combines his melodic nous with a penchant for whimsical exploration on his second solo album.
Travis burst into life in the late '90s with a polite swagger and a handful of wistful yet big-hitting singles; a case of perfect timing for the jangly Scots quartet, when guitar bands with soaring melodies and heart-on-sleeve introspection were richly rewarded.
Listening to Richard Ashcroft now, it's hard to imagine this is the same musician who was present on the Verve's early shoe-gazing sullenness.
The first Monkees album featuring new songs in two decades (following 1996's Justus), Good Times! is a 50th anniversary celebration of the US act that topped charts and broke its small-screen shackles.
The third album by Pacific Heights, the solo project of Devin Abrams, arrives a year or so after he made the tough call to exit Shapeshifter, the New Zealand drum and bass act he helped found 16 years ago.
In the 20 years since it burst out of nowhere with a rockabilly revival meets punk manifesto, The Living End's trajectory has gradually taken it towards the mainstream.
The 13th solo album from Paul Simon is not so much a distillation of his various musical ramblings as an explosion of ideas.
Having formed 30-odd years ago, almost before "alt-country'' entered the critics' lexicon, the Minneapolis outfit shows there is still magic among its members, even if Gary Louris' co-founder, Mark Olson, is absent.
Boasting a name that belies the musical path it has ploughed since its debut, Band of Skulls replaces the rough-hewn hiss and roar of previous releases.
The main question that anyone should have when discussing Mudcrutch is how different do they sound from Tom Petty's other outfit, The Heartbreakers?