Working with producer Randall Dunn again at the famed Avast! Studio in Seattle (fortifying that West Coast pedigree), Black Mountain have become more capable than ever of transmuting their kaleidoscopic visions into a volcanic unison.

The album’s OTT closer “Sweetest Devotion” doesn’t really provide the conclusion you want either. Despite that, there’s a very good record in here, propped up by a some incredible modern classics (“Hello”, “Remedy”, “When Were Young”, “Love in the Dark”).

This is rich, idiosyncratic music that’s too wild and strange to copy.

Ultimately these songs work their sly magic in subtle and nuanced ways and here may lie the risk for BODEGA. Their, at first seemingly modest, charms need re-evaluating when on the third or fourth listen it all clicks and you realise what appeared modest is in fact pretty sublime.

This is a stunning record, principally because of its narrative arc and complete cohesion--it's easy to see why they're leaving the traditional format if they've perfected it.

The eleven tracks show little shift in the sisters’ sound, which remains as beguiling--or as infuriating--as ever.

Over time, it's proved itself to be dark, intelligent and one of the most imaginative albums of the year so far, but whether it’s as enduring as its predecessor, only time will tell.

Generous but gradually revealing.

Combat Sports reaffirms The Vaccines as one of the most exciting British bands around--and one absolutely still worth pestering friends about.

Moon Tides is a daydream, not a rollercoaster ride, and if you’re not enchanted with the album from its earliest moments you’re unlikely to find anything that will catch your attention down the line.

With a sense of perfection that may be tumultuous, Promise Everything is as real a record as you'll find. Swooning in some places and stormy in others, Basement have never sounded this good.

Much like its predecessor, GENE fuses flights of accessibility in parallel with the unorthodox, achieving a split-tone depth that at once evokes a murky, warbling uneasiness and in equal measure boasts splashes of untroubled psych-pop brilliance. Earworms deployed in quick succession, Dust helms familiar inventiveness and ingenuity that can sometimes feel a rarity.

While still offering glimmers of Jaga Jazzist’s undefinable, futuristic aspirations, the maximalist ethos of Pyramid ultimately comes across as oddly old-fashioned at a time when acts like 75 Dollar Bill are redefining the hypnotic potential of instrumental soundscapes.

A four-track run from “Spider” to “New Magic II” – which includes the title track and “St. Francis Waltz” – proves a career best for Rose, housing her most affecting tunes yet.

It feels like a fitting release for the duo who’ve been going for so long. The search for new ideas is always on, and with this one, they’ve found a winner that offers something a bit different, while not alienating.

It’s not a reinvention, but Mercury Rev did their experimentation on their earlier records. Here they just get on with the job of sounding like nobody else, which suits them very nicely indeed.

Hutson continues his startling ability to generate a world of his creation, and our making. It’s the little things that gift Hutson’s songs with a penetrable honesty, balanced between the softly plucked strings - beauty and realism.

There’s Always Glimmer isn’t perfect, but that's appropriate really: trying to sort out your feelings in trauma's wake never is.

These songs feel as if they only exist as a reference for performances, rather than for their own good. Not to mention that the point of a house show is missed if I am forced to put the record on in a crowded metro just to imitate the feeling of getting thrown around in a drunken haze before work.

Rest assured, this isn’t a record built to break completely free of any trademark parochial charms.

Choir of Echoes is largely a retread of old ground. It’s perfectly lovely ground all the same.

Sex and Love is best when self-assured but not arrogant, and when Nielson offers up confidently subdued melodies which give space for his production to ring out.

While Forever… stands as a cohesive work, its last three songs stand out, containing some of Whitney’s most powerful writing to date.

Upside Down Mountain establishes the songwriter as a career-musician, one who probably won’t be forgotten for a while yet.

Chalk it up as another transitional album of sorts; Love Yes has TEEN well on their way if they’re not already there.

Too often his raps are egotistical, self-pitying, trashy, crass or just clunky- distracting from the sonic feats behind the vocals.

Paradise State of Mind is a refreshing modern offering from the LA-duo, their numbers may have dwindled by half, but their sound is bigger than ever.

By the culmination of these nine songs, it’s hard to not be left with the impression that Bloom Forever is an album that Thomas Cohen really needed to make, and make public.