The OOZ creates a brutalist and beautiful terrain, one that we can wander vicariously through King Krule; it’s nothing short of a masterpiece.

What gives this album more depth is the focus, the rolling symmetry and cinema.

The outcome is both comfortingly retro and exhilaratingly fresh, a modern twist on a classic dish, the aural equivalent of Natalie Coleman’s 'pimped' roast pork belly and quail scotch egg that triumphed in the 2013 Masterchef final.

Stage Four is quite possibly Touché Amoré’s best album yet. They have once again one–upped themselves into crafting a fierce record which would do all their families proud.

Simply another shimmering LP from a truly original band.

The mood is buoyant, the instrumentation is varied and the childlike naivety runs rampant throughout.

Much like Actor, it's the contrast of tendernesses in both the red-raw and Elvis senses of the word, that marks St. Vincent's music out as something more sophisticated and enthralling than it might first appear.

It’s full of the minute anxieties of life that keep you awake in the early hours, but set to some of the most life-affirming sounds you’ll have heard for a long time.

A surefire contender for metal album of the year and certainly worthy of some crossover recognition, Sentenced To Life deserves some adulation purely for reminding us that metal doesn't need bells and whistles to be thrilling, even in 2012.

In Colour stands tall as a bold and renewably-exciting triumph.

It's an assured collection of 11 songs that capture a mixture of exhilaration and heartbreak that is all their own.

Songs for Christmas is beautiful.

For a band still very much in its infancy, Sports is an astonishing body of work far beyond any kind of expectation you'd put at its creators' feet.

Imagine The Mars Volta's swollen red super-giant bursting beyond the constraints of mass and time and finally contracting to an all encompassing black-hole, sucking in Lightning Bolt’s heaviest riffs and The Boredoms’ most intense drum work after hurtling them to ‘n’ fro against all manner of cosmic debris.

Grievances is yet another remarkable record from one of the UK’s most consistently remarkable underground bands.

Precocious, other-worldly and vividly ambitious.

The LP as a whole is a remarkable collection of ideas, which manages to be overwhelmingly creative, but intrinsically listenable.

The rich production and ambitious, multi-faceted arrangements provided by White’s Spacebomb crew are the perfect foil for Prass’s soft, exquisite voice and expressive, tear-stained songs, such that the overwhelming impression of the LP is, against the odds, one of triumph; of beauty both wrangled out of and amplified immeasurably by loss.

It’s rare to find an electronic full length that manages to feel so varied, and yet also so harmonious in its uncompromising vision.

TVOTR splurge slabs of strange sound into almost freeform structures that draw on jazz sensibilities, alt-rock peculiarities and the whole NYC infatuation with cool.

This reissue is a welcome reminder of an album that has never quite gained the classic status it deserves, but despite this the vital ingredient--the intimate feeling at the heart of Painful--remains agelessly undamaged by the passage of time.

Where the split-personality of Cryptograms hinted as much, a cohesive effort on Microcastle delivers the goods in its entirety.

If Oh, Inverted World and Chutes Too Narrow were like ADHD-riddled cousins, unable to inhabit their own thoughts for longer than a few seconds at a time, then Wincing The Night Away is the Ritalin-gorged riposte. Its bounce is more bleary-eyed; its euphoric bouts tempered by a weird, waking-dream sensation that some dark presence is stalking the peripheries of its foggy vision.

Copia is the sound of Cooper surpassing himself, combining his patented minimalist drones with beautifully rendered piano.

Some people are going to think this is a masterpiece, the equal of "Hissing Fauna." Others will call it a self indulgent mess that pushes indie-rock somewhere it really wasn't meant to go. Personally, I think both those sound about right.

Black Noise manages to navigate the tightrope of expectation and creative vision with aplomb. It’s rich and meaty, the kind of album you can really get to know over a long period of time.

While the quality and beauty of The Golden Age can stand confidently beside those two classics ["Everclear & "Mercury"], it stands alone as another distinct chapter in the life of this band, precious to those who know them.

As the inclusion of the Neil Armstrong quote suggests, this is a step back towards the sunlight. Where that step leads remains to be seen, but this process has already produced a classic debut album.