Unwilling to finish on “14”’s vulnerability, Water From Your Eyes keep us at arm’s length, but eager to burrow deep and discover everything this album has to offer.

Williamson’s voice, writing, and sound have all evolved leaps from her previous albums, and Time Ain’t Accidental stands tall among masterful country-pop crossover records like Speak Now or Golden Hour that made their authors superstars.

William Basinski has created yet another outstanding work of art with A Shadow in Time, an audio sculpture of serenity and bliss to begin 2017 and put what was a saddening year for music to bed.

On 2017 – 2019 he again shows us why he is one of the most vital electronic acts of the 21st century.

This definitely isn't for everyone, and the production and mixing is particularly un-inviting this time around. ... But the sheer tunefulness in the songs beneath it all is actually incredibly heartwarming, and something that deserves as much attention from the adventurous indie listener as it currently gets from the rock and metal gatekeeping elite.

While the cosy acoustic folk of Sling is indebted to her influences — Joni Mitchell, Carole King, the Carpenters — Cottrill makes it wholly her own. ... While it’s a shift from the lovesick alt-pop of Immunity, it’s bound to be a transformative moment in her career. Whether she releases music for years or retires tomorrow, Cottrill can take solace in knowing she’s created something timeless.

That the genre-agnostic, collage-minded stylistic promiscuity and unfailingly indulged experimental instincts (there doesn’t seem to be a sound that the trio aren’t willing to shake, twist or bend here) are coupled with genuinely substantial songcraft is what makes Somewhere Good such a startlingly accomplished treat.

Executed with palpable warmth and affection for the musical heritage that hovers behind these songs, what could have been an unconvincingly superficial genre exercise emerges as another winningly inviting Bonnie ‘Prince’ Billy album.

It’s this invitation into her most confidential thoughts that makes the album equal parts sensual as it is unflinchingly confident, and it’s the ability to inhabit so many subtleties of the emotional turmoil of relationships that makes Take Me Apart such a memorable album.

Anakin often brings an urgency with his flow, each bar breaking with his voice, snapping like a bonfire night firework. It's an effortless relentlessness, ensuring you watch but keeps you cautious enough through fear of getting burned. Those personal touches are truly where Frank shines.

It’s a wonderfully strange, dense, and visceral album that finds solace in uncanny experimentalism.

Instrumentals is an album which is both easy to understate and overstate. ... By ingeniously pairing this music with the straightforward Songs, Lenker paints them as two pieces of a whole, two completely different recordings of the same state of mind.

While Suddenly’s highlight tracks buzz with upbeat glamour, Snaith is smart enough to tone a portion of the LP with their contrasts. Although short-lived, this is what made Swim so memorable.

Electric is a work of renewed purpose, whose short time-frame and scant tracklist (no PSB album has ever clocked in shy of ten songs) belie the gems that lie within.

A brutal yet glorious release that doubles up as an unbending overture to fervour and force.

That lack of wildness makes Modern Vampires of The City, while always thoughtful and often beautiful, the least captivating of their three albums.

There are a number of highlights on the record, but “supernatural” is the shining star. .... There’s also moments that don’t quite hit where they should, with “true story” and “i wish i hated you” being perfectly nice but lacklustre or simple in their writing.

There’s so much good stuff here that it can take several listens before the less overtly outgoing gems (also including the wounded hush of “Love Is For Love”) emerge from Twilight Override’s mass of music.

On The King, Anjimile crafts a masterstroke folk album that binds differences through time for unparalleled emotional clarity.

Asunder, Sweet and Other Distress’ is good enough, by post-rock standards. But it really falls short of the bar that GY!BE set themselves before they took a break from the game.

Sexistential is Robyn at her most lucid, practicing at liberation and assuredness now with this singular caveat of reinhabitation that doesn’t celebrate Robyn as a pop iconoclast with thirty years of consistent brilliance on the scoreboard – or doesn’t only; rather, she wields that in the creation of a self-mythology that also manages to sound brilliant on its own merit.

Musically, Dream River sticks calmly to understated Americana, generally managing to pull off Lambchop’s neat one-inch punch trick--seemingly effortless and gentle, only to echo with far more drama and beautifully powerful resonance.

The clarity heard on this album can be interpreted as a sharpened edge in Hval. She collapses the space of the album into a single sensory experience; she conveys something unsearchable but found.

The tracks feel as easy as they probably were to craft, and while they are pleasantly paced and succinct, the impact of their previous work is lost.

Three excellent albums in, Calvi has produced her most complex work to date.

It’s going to be hard for Albini, Weston and Trainer to ever top what we find on Dude Incredible. Worthy of filing alongside and above At Action Park and 1000 Hurts, it’s the sound of one of the great bands at the height of their powers.

Overall, this is an album that makes so much of the distant past and the present through intelligent working with and against classical music conventions. Recommended to anyone wanting to experience a beautiful and evocative soundscape created out of a highly original sensibility.

This album makes use of every single second of its runtime, jam-packed with choruses so huge and emotional, no one can quite replicate her unique sound and vision.