Like Muse, Mew fly in the face of the zeitgeist, cultivating a devoted following all the while. It’s one that should be sated (and in an ideal world, expanded) no end by No More Stories.

Middleton has made a dance record for the disenfranchised, oh sure it's a cliché, but Summer of '13 is one of the most refreshing things you hear all year. Come on you miserable bastards, this here is the soundtrack to your summer of '16.

A resolutely minor key offering, it’s even less instantly gratifying than before, precipitating its one central flaw: that these songs unfold at a leisurely pace – growing in stature as they progress from unassuming beginnings to sweeping crescendo – is admirable, but a touch overwhelming; even a little daunting on first exposure.

The accomplished sonic collages of Howlin' finely balance Jagwar Ma's influences and in doing so transcends into something singularly thrilling and cohesive.

Overall, you can still expect the same and more from Guster on this very summery record: tempo changes that will catch you off your guard, melodies that will stay in your head forever, and lyrics that may seem simple, but actually go deeper into life than you originally thought they did.

It is beautiful, ethereal and organic, breathing with life and is as far removed from the clean overly produced dance music which he holds in such distain. It has been a long wait, but on this showing it has certainly been worth it.

It's immensely listenable throughout, but at its best--with 'Vistate' and 'Cara Falsa'--it's truly spellbinding.

In its ability to appeal to so many listeners, while being as thrilling on its first spin as it is on its fifteenth, Art Angels is likely to emerge from 2015 as one of the most universally adored albums of the year.

There’s a rawness to this record that most new bands – sorry, most bands made up of new musicians – would do well to soak up.

Attack Decay Sustain Release defies such trite categorization and, ultimately, what it is or isn’t doesn't really matter. All you need to know is this is quality.

Rather than thinking of Groove Denied as some form of outlier we should only be thinking of it for what it is: a delicious treat.

All My Relations isn’t a replacement for a brand new Lightning Bolt album, the last one of which dropped in 2009, but it scratches many of those itches, while also fully justifying existence on its own terms.

Frantic and calculatedly assured.

As such, Limbo, Panto is shocking, funny, and above all irrevocable. Expect this lot to be around for the long haul.

Throughout, Sitek’s production dusts the stark techno basslines and percussion with ambient touches, and renders them human again, embellishing with swathes of guitars and treated synths, and allowing the vocals to come to the surface; untreated and clear as glass.

The 13 songs on Six are rich and exquisitely constructed, perfectly-pitched baroque riffs and orchestration are juxtaposed with searingly compelling lyrical imagery.

The melodies are polymerous, and Hauff’s deft technical flourishes mean that different instruments merge in and out of each other to create ever changing, but constant patterns.

Jeff Bridges might not be the actor's most emotional performance - to see that you need to watch the last five minutes of Fearless - but it is a surprisingly heartfelt piece of work, packed with enough hooks and harmonies to show he's obviously a keen student of the greats.

Possible Dust Clouds finds Kristin Hersh as artistically curious and inventive as ever. Committed to avoiding easy choices musically and lyrically, she remains intent on exploring the murky complexities of the mind and continuing to make the best work of her career. She is an artist that’s always evolving, and yet again the results are often dazzling and always fantastically bewildering.

It's an album peppered by moments of brilliance and not held back by its few brave failures and one that no one can have reasonably expected the talented quartet to have come up with.

In spite of all of this [still packed with his slow tempos, slurred sadness, and dour imagery], Grass, Branch and Bone stands as one of the easiest to inhabit of all of Joyner’s albums. Happily, it’s also as rewarding to explore as anything he’s done.

It is a formidably layered, beautiful record that largely lacks big hooks or aggressive bite, and yet conspires to be endlessly satisfying on a micro level, a clutch of ballads that represent the band's most intricate musical trip.

As a whole, it’s a 3 [out of 5], but the first two tracks are worth the extra point.

Seems Unfair not only trumps No One's Coming for Us lyrically, but musically too. Yes the comparisons for Waxahatchee are still there, but now Jones feels more comfortable and confident with his style of song writing and is starting to come into his own.

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.

Here's a record that shows an innovative appropriation of sound that makes for one of the most exhilarating and original albums he's ever done.

Throughout Heartworms, Mercer and company prove that their sparse output is well worth the wait. The totality of the record is enough to engulf listeners in myriad textures accomplished via sound and vision.

This album has its dancing shoes straddling very different musical camps and somehow manages to bind them together with skill and personality.