Much more petulant and moodier than previous albums, I Am Very Far swirls around in an illusory motion in which all manner of sounds and textures spin and whirl around the ubiquitous figure of Will Sheff; unwavering and untouchable, residing within the heart of the album's hidden emotions.

The production, by Foy herself together with Harry Fausing Smith, is perfectly judged, coating these songs in a warm yet otherworldly air. It’s unlikely that you’ll hear a collection of songs so striking and attention-grabbing. And, as impressive as this debut album is, the most exciting thing about it is that it hints at even greater things to come.

The sound might be ’80s, but this is undeniably now, and Shura a new star in 2016’s increasingly bible-black night.

One moment I feel like I am listening to Underworld's frantic blast combined with the Blue Nile's slowly evolving elegance, the next it could be The Pet Shop Boys' sailing in the slip stream of Depeche Mode. I can't nail down the sound beyond the fact that it's breathtaking.

This is undoubtedly Greenwood’s work, and he writes with ever-growing assurance and colour, broadening the orchestral palette. It’s just a shame this album as a whole could not be arranged in a more satisfying way.

It’s a promising debut from a musician spreading his wings and continuing to create his own little subculture, one informed by the past but brightening up the future.

Whilst the musical content here is unlikely to shock or surprise Bjork's loyal admirers, it sees her continue to pursue her own radical and individual path with unshakeable conviction.

While the album's last two tracks proper--Go Deep and The Fish Of Little Thoughts--may well have the restive ear agitating for greater variety with their continued gossamer construction and dreamy folk structuring, they leave little doubt as to Snowblink's assured grasp of naturally beautiful melodies formed simply, patiently and organically; Long Live as a whole is the creation that proves it.

There are some spine-tingling moments here.

A very accomplished second album, and you can almost see the band outgrowing their DIY roots in the most subtle of ways.

Lorelle Meets The Obsolete offer a heady mixture of psychedelia and grooves that, over time, becomes completely compelling.

It may have been a long time in the making, but Spooky Action is the album Mansun fans have been waiting for.

This is a spectacular, rich and luscious album made up of a variety of sounds that many listeners will have etched into their minds and hearts forever.

The structure of the album is beautifully crafted, with each of the tracks like pages of a calendar that detail Croll’s life, presenting a personal diary window of sorts into his world.

Framed by the presence of two vehemently liberated and reflective originators, its modernist physicality and spatially paralleled forms will continue to position Lewis and Milton as noteworthy musical institutions, and its insidious observations of contemporary traditions will forever alter those who come in direct contact with it.

Much of what follows is vintage Stranglers, incorporating tributes to their departed friend. These are done both explicitly (the touching song And If You Should See Dave…) and by association (This Song).

The whole album is a treat, and a fun way to pass a half hour or so. Hopefully the movie it’s attached to is just as fun, just as playful, and just as silly. Wonderful stuff – purchase with confidence.

It owes more to Timbaland or Mount Kimbie than the current mainstream, but this is the point – Vagabon makes this music sound so intuitive that it could well be the next big thing.

Formentera II is an album that can easily work as a stand-alone record, but it makes an equal amount of sense when paired with i

An album which sounds like the beginning of a new chapter for the duo.

Her music is always so distinctly hers, and she remains one of the most distinctive and thrilling voices we have.

With each album, Gibson develops these techniques, and Empire Builder sees her building these details to a new peak.

Hold Time goes one step further by drowning the whole caboodle in a bizarre new sound that incorporates cheesy synthetic-sounding strings, a hint of Phil Spector as well as that resolutely unpretty croak.

It's hard to know where you stand with it. There are moments where the listener is engulfed in it all, but others when it feels cold and detached.

The Unfairground is a short and sweet collection of ten tunes, rich with strings, original ideas, lovely melodies and a whiff of what used to be.

For an album that was certainly not recorded spontaneously, Desperation sure sounds spontaneous.

This music emphasises an unhurried, thoughtful approach to life that is beautifully at odds with the noise of a bustling metropolis in a General Election year.

The largest problem with Coexist is something shared with the debut. A lot of it just washes over you without leaving a trace. It's always high quality, assembled with a craftsman's eye for gorgeously unfussy detail, but it can leave you unengaged. It's soporific, far from unpleasantly, but in a way that means you can come out the other side unmoved.