They made one of the most interesting records of the year.

Since The Seldom Seen Kid's release it seems everyone and everyone's mum are now fans of the band. Though Build A Rocket Boys! is a strong album, it never quite matches the rampant grace of that record and in many ways caters to their more tested demographic.

Lost Worker Bee makes for a lovely epilogue to this period of the band's existence, incorporating the best of their qualities while also diving into previously unexplored musical landscapes.

The record manages to sound venturous and recklessly current. Iqbal’s use of chiming guitars, serendipitous synths and scurrying beats results in a record that is opulent in its warmth and sparklingly neat.

Bish Bosch is a wilder, more scattered (and scatty, in the case of Epizootics!, ten minutes of sax-driven jazz which could almost be seen as accessible, if it wasn't so dark and threatening) work than its immediate predecessors.

Modestly anthemic and quietly anthemic, ƒIN is worth the time of any music fan that considers themselves in the slightest bit interested in electronic music.

Loom seems to touch upon many periods within the extensive annals of indie pop, but Fear of Men put their own stamp with smart, modish pop tunes that intend to make sorrow, in the face of uncertainty, sound invigorating.

It’s mesmerizing background music that doesn’t pass judgment if you let it take a secondary role in your daily life.

You may not love it, but you'll probably like it, and that's enough.

What makes My Woman great isn't the new synths or the rockier tone. It's Olsen herself, filling these songs with the love, desire, anguish and acceptance that comes from her perspective as a woman.

Whirr crafts their own mold out of their influences, and, with an effort that feels grand and mesmerizing as it does dreary and bleak, Around hits the nail on the head and all those long lost sentiments of not having a shoegaze band to get behind seem to dissipate.

Half Free is both a revelation and a breakthrough, one that finds Remy elevating her songwriting panache while carrying a certain mysticism that seems grounded in both plausibility and commonality.

Chelsea Wolfe captured the essence of the album title eloquently, succeeding in making an album that is frighteningly honest, poignant, and graceful.

The power of this album comes from the mystifyingly cohesive blend of piano ballads, orchestral choirs, heavy metal, and completely danceable electronic.

Adele and her team have crafted an album that's both full of songs that have the potential to reach the upper reaches of the charts, and also a collection of songs that hang together as an album.

The Ascension bobs along in a meandering sea of drum machine and synth pads, waiting for something to latch on to. It never takes long; Stevens has the ideas and they hit relentlessly, moving on and doubling over before you’ve had half a chance to process them.

What's astonishing about Breakup Song is how it maintains an intuitive notion of coherence, even with its handling of contradictions. All the while making it look easy.

All in all, A Celebration of Endings is a curious, often potent blend of sounds and influences. While lyrically dark, its exploration is more often than not a very satisfying ride into the unknown.

The more you listen to this record, the more it impresses you, even if their name is downright awful.

Future Self sounds like a developing band, but one that's developing in some incredible directions. None of it is glaringly new, but they sound quietly innovative, developing their own unique take on indie rock.

Her ability on both sides of the mixing deck is on full display throughout Losing, and her latest work strengthens her case as a supremely talented songwriter and producer.

This is not for all tastes. Slow, broody, experimental.

Harvey’s audio experiments are celebrated with the release of each new album. But I wonder what she would do without any limitations.

Ultimately, a surprisingly successful mood piece, there’s a lot of fat to cut through--but this actually becomes one of the album’s more winning attributes.

Sure, there aren’t quite the visceral heights that the best tracks on w h o k i l l provided, but you will not be thinking that during Nikki Nack’s best moments. Listen to the words she says, let them sink into your head.

Complete Mountain Almanac is a superficially pretty album, but you’ll need to afford it your full attention to unearth its full charms and appreciate its emotional depth. Grab your best headphones and really listen; you’ll soon discover there’s something very special going on here.

Fohr details her cathartic experience with a smothering array of droning textures and clashing orchestral elements, where she succeeds at making sense out of her cosmic encounter.

A bold, brave, and beautiful record.