Whereas at times in the past it seemed like he was searching for his place in the crowded field of modern singer-songwriters and in danger of sounding too much like others, here he clearly finds his own voice. ... This is a really fine album.

The Mindsweep is Enter Shikari at their most inspirational and consistent and as a result, their best record yet.

As a whole, perhaps unsurprising to those well-versed in the band’s skyscraping sonic feats, Electric Lady Sessions is an affecting appetiser with riveting moments strewn throughout the 12-song compilation.

For those exhausted by a modern landscape, where playing a game of spot the musical reference is de rigueur when approaching every new release, Everything That Happens Will Happen Today is certainly a welcome relief.

The remastered first disc makes up for the lack of any truly juicy bonus material, being that it's a great album in itself, and is more than worth the price tag.

The song quality is set on an upward trajectory from start to end, with the last two tracks also distinguished by their fleshed out arrangements.

Endless Falls is the most complete version of Morgan's vision for Loscil to date. It's an album that's easy to get lost in after a few cursory wanders into the ether, where the amalgamation of barely-musical sounds sucks you in and seems to produce something different every time.

This is a beautifully composed album and one which frequently feels like a blessing that we even get to hear it at all.

It’s exhausting. And while collecting and devouring his albums is probably a more satisfying journey, to be delivered this trove of Fifties big band funk and perverted doo-wop, and to see it spiral out into interstellar space-jams in a stop-motion fashion is a huge thrill. Singles provides the first real opportunity for an audience to hear how Sun Ra became Sun Ra.

After it burrows its way under your skin, The Terror does genuinely feel like something of a dark masterpiece, the album you’ll stick on to discredit anyone who tries to claim The Flaming Lips are lacking in depth or darkness.

It's a worthy album for consideration should you find yourself browsing in a record shop of a Saturday afternoon and fancy something at once familiar and different.

As a debut, as a mark in the sand, Gracious Tide, Take Me Home is an endearing and beautifully drawn modern folk record

Other than the production, Tell Me I’m Pretty sits very much in the same league as Melophobia--a confident, eclectic rock record with heaps of personality and charm.

This is a confident, electrifying, weirdo-pop stormer of an album that deserves your attention.

It’d be rather too easy to sketch this as a record suitable only for chewing off your own tongue to: in fact, just like the Hieronymus Bosch triptych it appears to name-check, Earthly Delights is actually a work far richer in tone, shade and technique than its lurid sheen might suggest.

Whereas Pollock’s 4AD debut was fairly charming and instant but a little slight, The Law of Large Numbers is the total opposite; a wonderfully simple, clever and loveable record initially masquerading as a complex and awkward one.

Perhaps they're better this way, as a hidden gem to be stumbled across or searched out. It's certainly worth the effort, as they sure as hell don't make them like this any more.

Even by their own standards, the lack of posing or pretence on this LP is startling; it’s a raw, bare-bones affair with nothing in the way of embellishment.

Washed Out always stood above his supposed peers; the more he progresses out of his shell, the farther his voice will soar clear of the soon-to-break wave of generalised chillwave nonsense.

Whilst Koone's recycling of chiming keys and bell like samples throughout each track might seem lazy, it in fact makes Wander/Wonder effective as a cohesive listen, and that's how its euphoric atmosphere should be heard.

Amiina now daintily rap at the doors of a larger audience with a sound that is as delicate as it is arresting.

At times hypnotic in their understatement, every so often they gently erupt with vivid melodies that bring the underlying air of tension to its peak.

On the Line is yet another beautifully-realised and impeccably-delivered effort from a songwriter who revels and beguiles us from floorboards and pavements that few other songwriters would dream to tread.

There's enough on Chaosmosis to keep even the most casual fan occupied over the months ahead. As for those already worshipping at the altar of Primal Scream, prepare to be consecrated once more.

As a whole, Singing Saw is Morby’s best work.

With Nocturnal Koreans Wire have done it again, leaving you with that craving for more: More noise. More weirdness. More bloody Wire.

In sticking two fingers up at both their detractors and Dalston, they've crafted one of the most viscerally engaging British rock albums in years.

The sheer energy pouring from this record is breathtaking: not until the very final song ('Continuous Thunder') does Celebration Rock's sense of acceleration cease.