Pulling out the stitching from vintage rock sounds, they liberate its cloth from the need to fit over preset shapes.

A record [that] gleefully skips through genres without ever missing a beat, Jamie T’s fourth effort is a genuinely magnificent album that surpasses anything else in his discography with consummate ease. He simply hasn’t missed a trick.

Their progression has never been less than thrilling to watch, and--this is a compliment--Older Terrors feel like another step, not a destination. We have much to expect from this group yet.

Ruins shows an added steel and stronger resolve, the sound of a band toughening up, but still retaining that initial spirit that made them so distinctive.

20 Years in a Montana Missile Silo sits comfortably at the Pere Ubu table as the main course of an illustrious career. Gorge yourself.

Destroyer’s new album, ken, is Bejar’s best work since his masterpiece.

Punk Drunk and Trembling is an EP that displays the best of their later sound and leaves you wanting more.

A Humdrum Star is a stunning piece of music making, and almost certainly GoGo Penguin’s best work.

Sophisticated and sombre, Carney knows how to evoke emotion with precision; on this record, she does so with extraordinary effect.

There’s a sensitive soul underneath Birthday’s hyperactive bounce, and it tends to come out clearest when Pom Poko find a sweet spot and stay there for a minute.

Is it jazz? Electronica? Improvised music? Who cares. Far, far removed from the briefly interesting novelty or vanity project that the prospect of this record might suggest, Holy Spring is an intoxicating gem.

Pizzorno produces an album that is filled with surprises. Some pleasant, some just plain out-there, it is an album that is certain of its direction and doesn’t navigate too far from it. It's a convincing enough plea that Pizzorno is not just an indie rock mastermind - he's capable of much more besides.

She takes the woozy, sub-bass-soaked beats and splashes glittering melodics over the top, adding her own little sprinkle of icing sugar. Listening to Zdenka 2080 is a little like how it would feel to be floating through space: disorientating and fascinating, leaving you with a constant tingly feeling upon your skin as your drift ever closer to the sun.

From the harp-tinged starter of “No Good”, far across the twinkling lights, broken hearts and epiphany, to thunderous claps of “…Again” A Muse holds itself aloft, floating dreamily on a sea of feeling.

As the next chapter in an unimpeachably reliable catalog, Nicole Atkins couldn’t ask for anything more from Italian Ice, preserving her artistic hallmarks, deepening her emotional lyrical depth, while broadening her stylistic palette.

On their debut, Delmer Darion present an album that can be enjoyed studiously through exploring its depth and archival references, but more importantly they have simply created 44 minutes of music that sounds like it is from a new world as beautiful as it is strange.

On the surface this band is whimsical and experimental but delve into the depths of their lyrics and the inner darkness becomes apparent. Adventurous and often enchanting, Burrows is one of the more intriguing debuts of the year.

Tackling societal issues and delving into the depths of mental health, the band hold no boundaries when fronted with ‘taboos’ in their most honest, and sonically mature offering to date.

They have now added a new level of maturity to their already-impressive output. No longer raw and promising, they have returned as a band truly at the top of their game.

MORE D4TA or MODERAT 4 is the sound of a group creatively recharged and at the height of their power. To this end, in almost every conceivable way, it's the Moderat album that fans have waited six years for.

Souls may be sold separately on the trail for gold, but respect is earned, and Freddie Gibbs continues to rack up the points with another stellar entry in an almost-infallible collection of projects.

Miss Power is a solid instalment from Constance, with real high points across multiple genres. The voice notes are a little heavy-handed, and “YUCK!” risks losing the crowd, but Constance has still shown herself as an exciting voice in indie and alternative pop.

With no fillers in sight, Joesef’s musical talent is consistently reinforced with versatility that never sounds out of place.

At only 32 minutes and housing five interludes, The Age of Pleasure is slim on ideas and music. It would be more successful if she followed the same pattern of zinging between genre and form effortlessly like on Dirty Computer, but this record largely sticks to reggae and funk, leading to a slower, more lax mood.

It’s a definitive project encapsulating body autonomy, queer love, humour and fury, all the more confidently told by a vocal chameleon whose performance stands out amongst the rich production traversing decaying foliage, fizzling suns and AI leaders.

It’s big, brash, and crystal clear, but open-hearted and often evocative, too. At its best, the blown-up production and direct performances produce real stardust.

It is easily El Perro del Mar's most impressive work to date. In lesser hands, such difficult topics might have been rendered in a cliché, one-sided way. But Assbring manages to deliver a heart rending, honest, multifaceted meditation on grief in a tightly-penned ten track album that demands nothing less than our full attention.

Calling this album consistently satisfying might come off like a dig. Quite the opposite, actually. It's the mark of a classic.