There’s absolutely no doubting the supreme quality of Wilderness of Mirrors, the first work that English has conceived as a traditional album since 2011.

Get Tragic, quite candidly, is a virtually perfect record. There’s nothing about it that’s out of place. It draws on the best parts of the band’s past history, catchy choruses, glam-rock guitars, electronic riffs that don’t leave your mind for days, mind-blowing lyrics--all combined with a glamour that lurks at the edge of the hometown you escaped, as the sun slowly sets.

Human Performance sees Parquet Courts deliver ideas with laser accuracy.

Grey Tickles, Black Pressure is a rich, dense and rewarding album. Dig deep into it and watch it envelop you--decay and chaos has rarely sounded so seductive.

Yes the songs are catchier and slightly better executed, and the music evokes a by gone era but remains grounded in the modern world so it’s not a pastiche, but it all sounds, well, too safe.

There’s the same pent up aggression and wall of sound production, but Pissed Jeans have taken that blueprint and given it grunt and bite, via Korvette’s insurance-salesman-by day-everymanism and Bradley Fry’s knack for turning guitar sludge into genuine riffs.

Whether the songs zip like ‘Ringfinger’ or sprawl like ‘Rainy Summer’, they all feel very much of one piece, giving them a cumulative strength beyond their individual merits.

Thanks to a couple of moments where they give in to the anthemic impulses, the rest of Slave... can afford to drift along at its own singular pace, with rewarding results.

It's consistent and enjoyable, showcasing some nice new ideas while continuing to pull off the same tricks that Flying Lotus has been using to make a name for himself 2010.

The best moments on the album are the ones that grab you just as things start feeling too samey.

Silent Alarm's not 100% filler-free - the forgettable 'So Here We Are' could have slipped out the back with little protest - but the autonomy, creativity and sheer, elastic beauty that spans this debut more than justifies the rapidly accelerating hype that Bloc Party are currently generating.

This is essential listening and a likely cult classic for years to come.

There are parts of Love What Survives that you’ll want to dive straight back into again (like this track), and then others that are a little more ephemeral.

Whatever the case, Adore Life still feels like a step forward, not because it’s different, but because it’s more so.

While the band have clearly slowed down to create their fifth record, Painted Ruins shows no signs of stopping their quality of sound and long may that continue.

'Mercury' from 1993 is widely regarded as AMC's finest moment, albeit their flawed masterpiece. This new album is right up there with it, and 1990's 'Everclear', too.

Wells and Moffat have created a stunning album that assures us of the death and decay that is to come, but equally, they tell us, as long as we are still around, there is life to be lived, and music like this to be heard.

For the most part, Deloused In The Comatorium is truly exquisite and well worth the wait.

The sensitive sections are fine but tritely Musak at times. The power-soul sections feel a bit, sorry but, Jools Holland-y. There's nothing concrete that you can pinpoint that makes it feel false or weak per se.

Simple, patient, dreary (in a good way) music dominates this soundtrack, providing the perfect accompaniment for Sheff to wail off about doctor and patient sex in a shrink office, society’s pervasive attraction to celebrity and the plights of aging, among other topics.

Learning is a likewise bruised [as the album cover] and suggestive affair; of catharsis and rare, redemptive beauty, which ranks as one of the most uniquely endearing and quietly forceful debut albums of recent years.

Far more than with his first album Overgrown is focused upon his songwriting rather than his technology, and it’s much stronger for it.

Amply weighted for a debut, Silence Yourself comprises a balance of really excellent stuff and the simply very good.

It’s easy to overlook a few fizzles in an album stuffed with fireworks.

Not easy, but often fascinating, wholly rewarding and genuinely cathartic.

Its strangeness is all-pervasive, yet understated. It‘s Deerhunter’s quietest record to date, and not exactly lacking in hooks--’Element’ and ‘Plains’ are earworm-ish. And yet everything’s ineffably odd. ... But it all adds to the the album’s allure--a singular thing, not quite of this world, desert fruit ripening quietly on the eve of the end.

It doesn't have to be anything more than the two things it certainly is: a tribute to a longtime bandmate and friend, one in which he gets to take part in spite of departing the planet, and a collection of songs which at different points are clever, funny, fulsome and moving.

Maybe some of the subtlety of the original is lost in the symphonic throb of this new arrangement but it's still a stunning, gleaming celebration of endurance and life even in the midst of bruises and hurt.