She’s gone from making an album that felt in constant peril of collapsing under its own weight to one that carries her predilection for drama with genuine confidence--for now, at least, that’s redemption enough.

With Quarters King Gizzard they have produced an album which can be analysed to death if need be, but actually works better as something to be consumed as a whole.

There’s just so much going on, so much to wonder at.

Before the World Was Big is a record that will help you appreciate the 'good old days' whilst you're still in them; it's a record that will make you feel okay about the unsettling aspects of the future and it's a record that will make you wanna hug your pals and never let them go.

This is the sound of a band fired-up and focused, and the result is a Darkness album to be proud of.

Peel back the façade, and you’ll find two white dudes parroting phrases and stealing time-tested tricks to sustain the rebel mirage, to cover for the fact that they have no clue what they’re even talking about.

If There is No Enemy was a pretty concise record of dreamy guitar pop, then Untethered Moon sees the band get back to a gnarlier sound, with roughhewn, grungy production and two songs that yawn far over the six-minute mark, erupting into hackingly primitive Crazy Horse-style jams.

It’s a good record, it honestly is. But good grief, it’s a hard one to be excited by.

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

What Multi-Love lacks in immediacy it mostly makes up for in aesthetic.

Thankfully there’s enough genuinely high quality Fall material here to ensure that any newcomers to the band are fairly sure to move directly from ‘Quit iPhone’ to ‘Frightened’, ‘The Classical’, ‘New Big Prinz’ or another classic Fall album opener.

Non-Believers may disarm at first, but after a couple of listens this will quickly hook into the ears and heart as every Mac McCaughan venture does. This is his dusk album.

A richly ambient affair, it makes for a particularly strong listen via headphones, dread-soaked mist and hopeful shimmers given heightened impact.

Emotional, great and exhausting.

Fortunately, the role of curator suits Cunningham's talents, and despite the choppy mixing and non-continuous programming, DJ-Kicks never feels as alienating and outright strange as some of his past mixes.

The current trend of Nineties-leaning music shows little signs of abating, and Heydays is yet another gloriously messy, scratchy string to its bow.

It’s a beautifully composed record, where songs gently bloom and the pace constantly ebbs and flows.

Sprinter manages to be defiant at its most minimal: she may not have made a fully realized masterpiece yet, but she’s staking-out the place between noise and silence where a masterpiece will be built.

There aren’t many musicians in the country as creative and as interesting as her at this point in time, and Welcome Back To Milk represents another triumph in her weird and wonderful saga.

At once Herndon’s most accessible and most adventurous record, this is digital age avant-garde sound art put through a pop prism, and it’s all the more exciting as a result.

Not only is there too much going on in each song to think of them as simple pop numbers, but Why Make Sense? touches upon a huge range of styles.

Love Songs For Robots is ambitious without being overblown, intimate without falling to sentimentality and subtly, delicately lovely.

With Peanut Butter, Joanna Gruesome have raised the bar.

Like their last record, Album of the Year, Sol Invictus is more concerned with playfully nudging at the boundaries of hard rock conventions rather than attempting a dizzy genre-spanning explosion to rival 1995’s King for a Day... Fool for a Lifetime.

A bottle of red wine and a full listen of the album is when you’re really going to uncover the caveats and subtleties of the record. Anything else and you’re just wasting a wonderfully dark and seething record.

Wilder Mind is incredibly one-track, so much so that even on your first listen-through, you’ll likely already feel like you’ve heard closer ‘Hot Gates’ five or six times in the past hour.

It’s not enough to make an album that blends inoffensively into the background. Psychedelia is supposed to be mind-bending, not just some minor flavouring to add to your very average indie-pop songs.

For the most part, Bush is another re-hashed and tweaked Snoop album. It is expanding into new territory, but delivering the same result.