Defying categorisation, 'Fire Doesn’t Grow On Trees' feels simultaneously well-situated in Brian Jonestown Massacre’s expansive discography, while continuing their core ethos of subverting the indie scene, always looking in the opposite direction of the mainstream.

Kept to a trim 35 minutes, there’s actually surfeit of highlights on display – each track lands, while owning an incredible sense of breadth.

The freshness comes through in the delivery, which is as loose as electronic music permits, delivered with the bluesy rawness that frontman Dave Gahan wanted from the album.

Flamagra reminds us just how good Flying Lotus sounds when soundtracking transcendence.

It’s a record that captures the anxious state of the world and shows a more fragile Gaz Coombes, far removed from the happy-go-lucky teenager who wrote ‘Caught By The Fuzz’ and ‘Alright’.

Food is a fabulous and immediate record, rich with muted brass and low-key electronics.

Opener ‘Shock Out’ illustrates a playful approach that floats on the periphery of danger while ‘Slay’ sees her really flex her lyricism complete with a wavy flow. As is to be expected, The Bug’s production floats in the oxymoronic universe of heavy and atmospheric that is both haunting and devastating.

‘Sea Change’ is as epic as anything that came later, Knights’ vocal supplemented by a rich seam of orchestration, but much of the material here could have been lifted from those early recordings, where skeletal fret work frames angelic vocals. A return to the source.

What ‘Fleuves de l'Âme’ shows are that some albums are worth the wait as ‘Fleuves de l'Âme’ shows a delicate balance of killer melodies, tradition playing and contemporary electronica.

The battle between melody and noise at the heart of 'DEATH MAGIC' is a fascinating one, and the twelve songs on which it plays out are damn near bulletproof. Welcome to the most terrifying pop album of 2015.

It’s contagious joy to hear players with such abandon and intuition, braiding their lines together.

Although fans are nostalgically pining for the innocent, youthful sound of her voice from her early albums, there’s no questioning that she has a more controlled and comfortable vocal ability now.

A beautiful vessel for messy emotions, 'Build A Problem' is a tour of the highs and lows of living and loving in your teens, twenties and probably beyond; raw, full of questions and yet celebratory as it revels in its big emotions.

It is the very definition of a grower, simply because there are so many little things going on in stark contrast to her elegantly sparse previous release.

Undeniably formulaic but just as captivatingly beautiful, solemn closer Let Me Back In is the track-stopping highlight, painstakingly building to a crescendo before the ghost voices drift out. Glorious.

‘Juniper’ is a playful, exploratory and incredibly clever record – dealing with themes ranging from falling in love, mental health, music industry critique, politics, and self-love.

‘GRRR Live!’ has further cemented The Rolling Stones’ reputation as one of the best live acts of all times as well as being one of the most memorable shows in the band’s history.

We Will Not Harm You operates much like a London Sunday market in its vibrant, assorted survey of the electronic melting pot

There is a heady optimism to the album. Instead of claustrophobic soundscapes, Lake has built elegant drones around pockets of space that allow the songs, and listener, to breathe.

A daydream-like haze smudges the crispness of the beats while Lewis sings his osmotic melodies, his tones akin to Richard Swift gone disco.

Worth the wait for fans. The record balances its psychedelia with more mediative moments offering plenty of variety. This record again shows Auerbach’s musical influences and projects beyond The Black Keys.

‘Something To Consume’ is a brilliant debut, ambitious in the best of ways. The Austin outfit possess an unrivaled passion that is genuinely exciting, leaving their listeners eager for more.

‘Michael & The Mighty Midnight Revival: Songs For Sinners And Saints’ may be unwieldy, but its inviting, and has so much to explore.

Blurring the lines between inner and outer worlds, ‘Manning Fireworks’ is a powerful achievement, one that deserves to last.

Fresh Air is confidently obtuse in that it expertly harnesses the power in Sagar’s slightly off-kilter and out-of-tune instrumentation.

With this, Ghostpoet has created another fantastic, authentic body of work, meeting those high expectations.

It’s a fun record, and as adventurous as we’ve come to expect from Planningtorock.

It captures the trials of his journey so far whilst celebrating his current success and the gross potential to do even more. The collaborations are authentic and humble, apt for the LP’s subtly intimate nature. Lil Baby has set the tone for his next phase.