It’s still a difficult record to parse – Smith’s complex collaging lends itself to attentive admiration – but on this release, she wants you to hear the concept. She wants you to see what she can hear.

Electric English is not groundbreaking nor really anything that competes with the band’s back catalogue, but overall it’s a good listen that will happily satisfy OMD’s fans.

The album in it’s conventional format may be too limiting for Nisennenmondai here and therefore, this is not their greatest advert.

Mutual Benefit occasionally build to moments of wonderful melancholy, before coming back down and resetting their expectations. It’s a charming sense of reality, but ultimately the music drifts in the middle lane too much to be truly mesmerising.

Like other Matmos albums, it relies too heavily on the concept behind the album for merit. Plastic Anniversary is an impressive experiment with intriguing results; it's not, however, an album you'll likely find yourself revisiting time and time again.

Utterly forgettable.

No, the record doesn’t represent a quantum leap in progression between 2011 and today. Yes, it’s another lovely listen.

Any record containing tracks of this quality, as well as 24 others of a similarly high standard, is always worth releasing, whether or not it feels academically or artistically necessary.

Like the best of Amos’ work over the past 20 years, what makes Native Invader exceptional is its complexity: songs are laid out like puzzles, ready for the subjectivity of the listener, with no obvious interpretations.

The cleverly engineered structure makes you feel like you once again understand why the album is a thing of beauty. It makes sense. It flows. And Joakim just makes it look so easy…

Slowness is not as instantly catchy as Outfit’s previous releases, but this should not deter listening from beginning to end; on the contrary, the record demands it.

These twelve bitter-sweet tracks are packed with bright pop hooks and jubilant melodies, just about sellotaped together with fuzz and rendered endearingly on the verge of constant collapse.

This isn’t one of the standout tapes in Thug’s ever-expanding discography. But, as always, it signifies development, progression--most of it accessible on "Drippin’".

It is possible to be fooled by the compelling, sugary pop song layers that unfold on this record, but there is so much more going on underneath it all and therein lies some of the complexity and fascination.

The glitchy deconstructed club of her past oeuvre permeates the entirety of KiCK ii, particularly in “Tiro” and “Araña”. The former goes full throttle as pop sensibilities crash into a nightmarish broken down metallic reggaeton surcharge. “Araña”, while much more tame in volume, draws from the same well, contorting left and right in a dynamic play of touch-and-go that defies all expectations set by the tracklist leading up to it.

GRIP is stylish and moving, yet lacks a sense of provocation.

It’s densely packed but never oppressive and yet also feels uninquisitive enough not to delve too deeply or for too long.

Escapism running through its veins, right down to the gentle “woah-oh’s” or cascading drums, Imploding The Mirage works because it doesn’t try hard but still pulls all of those components we’ve come to know and love together.

Dyer and Sanchez’s synthesis of the familiar with the new, however, revels in a disparate identity that both challenges and lulls. While not to be crudely termed genre-defying, it would be difficult to argue that the idiosyncratic sound of Buke and Gase can be easily defined.

She gives you everything, expecting nothing in return, lavishing you with luxurious, gothic glamour and saturnine pleasure. A modern masterpiece.

Household Name re-establishes the pair’s vitality to this extent, avoiding a potential slump in extending the countercultural charge that cemented the appeal of their previous LP's.

Shriek is perhaps not what we expected from a Wye Oak record, but it’s blinding nonetheless, and, while destroying any preconceived notions of the band, lodges itself near the top--if not at the top--of their canon.

There’s no denying the technical ability and songcraft is there, and unpicking the layers is the most enjoyable part of listening, but it’s emotional tugging ultimately strikes as hollow, not through insincerity but in being too obfuscated or overbearing for me to really love these songs.

Illusion of Time can sound more like a proof-of-concept piece than a fully-fledged album. However, if you can reconcile yourself to this fact, there’s some truly outstanding ambience to be experienced here.

Quilt are a group well aware of their strengths but not willing to overplay them at the cost of their distinctive balance, and Plaza is stronger for it.

M:FANS is certainly a fair deal more interesting than yet another note-for-note trek down memory lane.

Whilst it is a pleasure to hear Tycho again with new ears, it's difficult to argue that what is being heard is anything new.

The album proves that Exploded View are at their best when they refuse to be constrained by reality, to listen to consensus or to obey, and instead, exist in the dazzling reverie of their collective dream.