MASSEDUCTION defies expectation, defies definition and defies the very idea that definition can exist. It’s an album detailing the mess of identity politics and power structures, and yet it hits serious cohesive highs. There is no cookie-cutter remedy, no rallying cry, just a baker’s dozen viewpoints of the chasm where we once thought order, power, and meaning lived.

It is the kind of album you can listen to 1000 times, and on every single play a new intricacy will be revealed. The mark of genius is that despite this it never feels overburdened or complex. It is, put simply, an extremely ace pop record.

Circle have reached many great heights over the last two decades, but this new album again attains a new zenith.

It's that mix of astral expensiveness and strict artistry that makes Thundercat's debut LP The Golden Age Of Apocalypse as grand and visionary as its title.

The sound of Psychic is meticulous and luscious.

Pearl Mystic is the best British psychedelic album since the 1990s; maybe more than that.

By rights no group should be peaking after 30 years of making music together, yet that is the situation in which Oxbow find themselves. Will they ever transcend Thin Black Duke? Such are the ideas and attention to detail on this record, only a fool would bet against them.

A couple of tracks have endings so abrupt they feel artificial. They definitely have me wishing for longer codas and wig-outs. Does she ever let it go on longer? Is this instinct, or discipline? A plan, or just how songs came out? But crucially, where Limbs felt like someone still developing their sense of direction, The Hollow sounds like someone nearing absolute mastery.

They Want My Soul is focused, tight and impeccably produced. The songwriting is crisp and tight, Daniel's ear for a catchy and upbeat riff have resurfaced.

When it comes to Kosmische classics, this is an essential. If you don't have this in your record collection, you're doing yourself a massive disservice.

Sonically, there isn’t the same sense of startling reinvention with the stately sound of You Want It Darker, although it’s undeniably grander, lusher, more beautiful than its forbears; its melancholy mixture of string laments, orchestral flourishes and sombre choirs virtually compel you to bow your head in hushed reverence.

Meticulously structured yet fuzzily abstract, cloudily claustrophobic yet aurally vast, it sounds nothing like a traditional rap LP yet definably and definitively adheres to the most crucial characteristics of the genre. It’s certainly a marvel and may well be a masterpiece.

This is another incredible addition to Roberts’ Coin Coin project, and one can only assume that when the 12-album cycle is completed, it will be regarded as a singular masterpiece of twenty-first century sonic and narrative art.

Full Moon is a distinctive and exuberant snapshot of an exceptional journey. It offers yet more proof that Moonchild Sanelly is a singular artist whose colourful aesthetic is not only discernible via her trademark blue mop of braids but in the joyous, sexy and defiant nature of her sound.

The album--an immaculately drawn piece of jazz-inflected pop--is loaded with such originality that Mvula's carved out a niche of her own in 2013's musical landscape.

The Old Fabled River is an exceptional record, a powerful example of a living folk music based on exchanging stories and remaking cultures in the process.

Spare, affecting and hauntingly melodic, For The World is a timeless record, looking back only in a human, personal way--not to some lost golden age, but over a life lived, with all its ups and downs, losses and gains.

It’s a bold claim to suggest No Geography with its reasonably brief (for them) 46 minutes is up there with the controlled chaos and warped psychedelia of their earlier work, but it is. With its unifying themes of freedom, unity and attack, channelled via the medium of boom and sirens, it really is. After the best part of 30 years, there’s still no one else like them. Amazing.

That anyone could craft work so head-spinningly euphoric, so joyous and life-affirming, as a deliberate response to the unmooring felt following the death of their partner and amid an ongoing war with their own mental health, is a kind of miracle. But that’s just the start of what’s marvellous about this magnificent record.

This sense of place and space in Futures makes its suite of sumptuous love songs doubly poignant, turns them into glorious moments of both clarity and giddy disorientation amid the impending decay and desperation of time and events beyond the back door, the darkness glimpsed out on the horizon. The songs don't emerge as 'crafted' at all, rather you can't quite believe they didn't always exist in this form.

Here they've painted another masterpiece in post-midnight malevolence. Only this time, it's more hypnotic, with a new-and-Neu-found intransigence.

What you’ll know after listening to Vesper Sparrow, is an option for the album of the year.

Eisenberg manages to patch together not only personal memories but also their different musical routes into a stunning record that feels like an early contender for album of the year lists.

The album sounds like the process of ripping away at one’s own humanity in search of some kind of core; the music is colossal, destructive and all-consuming. ... Extraordinary, turbulent album.

50 Words for Snow is undoubtedly whimsical, but it's played and arranged so exquisitely that even the most po-faced should be able to acknowledge the scale of its achievement.

The daring, innovative breadth of his artistic imagination is given full licence in the sense of expansive space each track so effortlessly conjures--no doubt helped by his previous soundtrack work.

There'll never be another band like them. And if this is really it and they leave Blur to the history books, then it's a perfect way to remember this unique, occasionally annoying, but genuinely quite amazing band.

What makes Busy Guy extraordinary is its scorched-earth intimacy. Fretwell’s voice rarely rises above a whisper; his guitar playing consists largely of skeletal fugues so minimalistic it’s as if they are barely there at all. Yet oceans of pain and lifetimes of regret are packed into an LP that hooks a cable to the listener’s soul and cranks the voltage all the way up.

Hinterland is playful--a vibrant and urgent combination of genealogy and vision--and it is this that truly makes it a masterpiece. Not only does Campbell have the creative chops to create such richly evocative music, but she does it with a wink and a smile.

It is a bold, expansive body of work that should have all the praise heaped on it because, without warning, she dropped one of the strongest albums of the year on us.

A tiny marvel, this record. A tiny, exquisitely-tooled marvel.

This is not a live album, but an alive album, one of the most visceral, beautiful records you'll hear this year.

The enrobed duo of Stephen O’Malley and Greg Anderson have produced a beguiling work that distils the overwhelming impact of nature on the human psyche into 80 minutes of utterly transcendent avant metal.

{Awayland} is a treasure trove of an album, brimming with ideas, most of which work and all of which, at the very least, prove that O'Brien is not simply another little-boy-lost lamenting the fact his parents wouldn't pass him the salt, but a songwriter of real note.

A beautiful resurrection for Zamrock, Zango is one of those rare records that, after living with it for a few months, still makes me feel something very profound. A triumphant return indeed.

Timbaland, Kanye and Diddy are among the big names on the boards here, battling it out with lesser known producers, all gleefully playing to Pusha's style.... If Pusha T can keep this up throughout King Push proper, the forthcoming main event, he'll have the hip hop album of next year too.

As vital as the air that you breathe, you need this album in your life.

It is left to the listener to piece through these lyrical asides to find meanings of his or her own rather being led by the nose, which only makes Ancestor Boy all the more thrilling, especially when its driven by such an effective, powerful production.

[Jenny Hval's] most straightforward record to the date, full of colourful and warm sounds – as well as one of her finest pop tunes.

They show us what pop music can do.

You won’t hear a better pop album this year. I doubt you’ll hear a better rap album this year.

A masterpiece of sound design, that's no backhanded compliment. This album is the sort of sound design record that more sound artists should aspire to make.

Although the stylistic variations across the two LPs make it seem as though there is more music here than could reasonably be expected to be contained within eleven tracks, much of it is highly accessible, addictive even.

Her phrases heave through a cycle of breathy registers, then crash into a wail of the song’s title. Those repetitions, moored by no predictable structure, are hypnotic, intoxicating, and the lyrics heighten the sense of time being distended. ... Desire avoids feeling derivative by crossing so many wires, drawing from a more adventurous time in pop and placing innately familiar elements in new contexts.

Astronaut Meets Appleman might very well be King Creosote’s masterpiece. It is at once ethereal and contemplative, grounded and matter-of-fact.

Autumnal, witty, sad, lovely and very, very English The Violence is the high watermark of Hayman's career and one of the finest British releases of 2012, a record that neither floats, nor drowns, but soars.

The result is no sucker punch, but a knockout blow.

I don’t think anyone in modern mainstream music — certainly nobody on the same scale of global fame — analyses and unpicks the breadth of their trauma, in so piercing and revealing a way as Billie Eilish does here. .... I’ve found Hit Me Hard And Soft to be a focused, self-contained, sometimes stunning piece of work. If there’s a flaw, to mix metaphors, it may be that having grown in ambition and sanded down some rough edges, the music is easier to swallow, which risks one missing some of the richness (and edginess) of flavour.

Like everything else they’ve done, it doesn’t sound limiting or calculated or agonised over – it just sounds vibrant and magical.

It's not certain whether the acre to the desert forest has been crossed, but the feeling that abides is one of compassionate admiration for Stevens, not only for making this beautiful album of unfaltering rawness (and one which may even provide a crutch, a brutal one, for others), but for all of his work that has preceded it, music which frequently transcended the hurt of a life so wounded at its root.

For an album so grounded in electronics, it sounds remarkably organic. Perhaps it’s the lyrical intent, or the fact that Kember’s been cultivating its growth over some time, but the record’s connection to the earth is unmistakable. In making his grand statement, Pete Kember has succeeded in creating his magnum opus and an album for the ages.

Metz [have] easily made one of the finest and most ferocious punk albums in years on this sledgehammer of a debut.

Whilst there have been several releases so far worthy of consideration as amongst the best the year has to offer, none have felt quite so necessary and potentially healing as this one. ... It attains a transcendent, mantric like force through repetition of multi-tracked vocals and the resonating squall of guitar that it emits cloud-like from the deceptively simple core of its construction.

It’s with By The Fire that Thurston Moore goes properly into orbit. Make no mistake; this is an album that stands shoulder to shoulder with the very best of his alma mater.

There is nothing comfortable about these traditions, but the evident joy in each other’s skills pushes the three musicians to peaks of subtle innovation. What News is just the latest in a string of Alasdair Roberts albums which turn our idea of folk music upside down and give it back to us charged with a new potency.

Whilst it may lack the game-changing originality of other big 2011 releases, the record spans half a century of musical history more effectively than any other in recent memory.

The remastering job here is superb and the nine previously unheard tracks are an joy to discover--1992-2001 is nigh-on perfect as an introduction to one of pop's best ever kept secrets. Unlock it and wander all year long, then seek out what full-lengths you can find. In Acetone, you've got yourself a lifelong companion.

Restless reinvention is to be admired, but reconsideration and striving for personal perfection is to be prized. While Frahm’s previous penchant for the former has given him a brilliant and varied book of songs from which to draw, it’s his intense performance and passionate adoption of the latter which makes Spaces a work of gentle genius, and one of the year’s best albums.

Joy as an Act of Resistance is a feature-length confirmation of what many have long suspected: channelled via frontman Joe Talbot, the Bristol five-piece are striking a midpoint between polemical and impactful, the grit of which few contemporary guitar bands have any odds of outdoing.

This is an album of a depth and ambition that should, frankly, set a standard for contemporary art music.

It’s a beautiful and inspiring suite of music, by turns both lyrical and aggressive, evocative of the elements in their many different forms. ... Great artistry which is significantly more than the sum of its parts.

Köhncke walks the thin line between pop and kitsch and remains focussed throughout Justus Köhncke & The Wonderful Frequency Band, which is his finest yet, and one of the best of 2013. Fernweh techno of the highest order.

Brat is a great, great record. There isn’t a duff jam on here. In the end, what you get at this all-nighter is the glorious, swaggering gonzo nihilism of Charli XCX, versus the lovelorn, self-examining humanity of Charlotte Aitchison, and the winner is us. I hope the cost isn’t too high.

Dumb Flesh on the other hand feels like a direct continuation of the last superb Fuck Buttons album, Slow Focus, albeit a good deal warmer than its overpowering austere chilliness.

In Detached From The Rest Of You, James refuses to offer the listener neat resolutions. Instead, she provides a profoundly honest documentation of her own frayed edges, translating the noise in her head into some of the most compelling electronic music of the decade.

Designer is both self-referential and evolutionary. ... There's more to chew on here than you'll find in many records released this year. It's with one eye staring into the past and the other firmly fixed on the future that Aldous Harding presents this mysterious, complex and intelligent work--a third essential in as many albums.

In its breadth of ambition and stunningly realised sounds, Dark Energy delivers more than just a new twist on an established style. Remaining tightly linked to the music of Jlin's forebears and contemporaries, it nonetheless maps out an inspiring and tantalising glimpse of electronic music's future.

At brief points Lamar does err on the side of self-indulgence, but for the most part his grandiosity is matched by his talent. A worthy follow up to its platinum-selling predecessor, To Pimp A Butterfly stands as a fearless and uncompromising manifestation of Lamar's desire to push the culture of rap forwards--a crusade that's as much in his blood as the city of Compton.

A joyous exposition of masters at work. OOIOO are still unlike any other band I can think of. They are resolutely themselves.

So more than half the album is fantastic, and the rest is very, very strong.

The last time West used the name Jerome in a rhyme (MBDTF’s 'Gorgeous'), it was a reference to racially disproportionate sentencing practices in drug cases. It’s that sort of doublespeak that makes Yeezus the zenith of West’s entire career.

What Saint Etienne articulate across I’ve Been Trying To Tell You is that thirty-one years into their career, their propensity to completely envelop their audience is as palpable as ever. Without hesitation, their latest offering is amongst their finest work. One that will certainly sound and feel as resonant and elevating over the next three decades and beyond.

Only a few acts have really transcended local industry mores and enlightened amateurism to make something of truly wider, lasting appeal. And maybe none more so than The Homesick with this record, which should surely sneak through the gates of classic pop heaven.

City Lake is a stunning, humble record built on traditions we all understand, yet, somehow feels dizzyingly new.

On paper, then, the concept of an album that comes so consummately out of this context may not be the most appealing. In reality, Herndon's second full-length proper, Platform, which does just that, is one of the best records you'll hear this year.

A superhuman album celebratory to a soul very sad to have lost.

Despite clearly being intricately crafted down to the tiniest gestures--musical feats at this level of intensity and control don't emerge from half-arsed noodling--To Be Kind's songs also feel more fluid and open-ended than before, expressive and rich in possibility.

It may be too early for most to declare it a classic, but only a few hours after its launch, it seems fair to describe Gang Signs & Prayer as a towering triumph.

Iceage's You're Nothing is one of the most exciting, open-minded pop punk (not THAT sort) albums I've heard in years.

After a slight misstep with Audio, Visual Disco, they’ve only gone and created a masterpiece with Woman.

Each track is a universe of its own, doing what art should do: using its own virtual space as an experimental testing ground to try those limits of taboo and impossibility that remain limited IRL. ... Cavalcade may prove to be one of the most accomplished albums of 2021; future classic of a happily undefined now-core genre. Humanity, level up. If they are giving us any taste of the immediate future, let the roaring twenties roll.

On Heaven To A Tortured Mind, Tumor harnesses his relentless curiosity to test the boundaries of rock and noise – and reinvents what we expect from both in the process.

It's menacing, calming, earthy and completely otherworldly. And an appropriately unnerving conclusion to a project that, for all its bruises and emotional scarring, find a way to be flawless. And which confirms Lorde as continuing to inhabit a space-time continuum entirely of her own devising.

Not only is Black Age Blues Goatsnake's best album, it is an instant classic of the stoner-doom hybrid and an earthy, electrifying endgame for rock & roll itself.

Slow Focus is the album Fuck Buttons were born to make.

Throughout, Strangers is quite simply an understated tour de force by a now experienced composer and performer, able to convey a feeling and lead the way within it in equal measure.

This is an utterly spellbinding record that shows with maturity that the band only grows and improves. If this is their last, it is an exit at their peak, proving their relevance and importance more than ever.

These are deep, emotional, sometimes bruising songs, though the insinuation of total darkness belies the exquisiteness of its spiritually rigorous forty-eight minutes.

In another rapper's hands the concepts might have been overcooked or the messages too self-righteous, but Kendrick manages to achieve scale while remaining firmly grounded on two feet.

With Future Present Past, Irreversible Entanglements have delivered an album that matches the quality and creativity of its predecessors. At the same time, they’ve refined their vision – coupling familiar sonic elements with a new-found directness.

Almost to a man (there's the odd fail, but they're near misses not massive stinkers) the remix team delivers, transforming the borrowed materials into something not better, but of equal merit.

The album is sparse and its minimalism is round-edged the whole way through, yet the plethora of moods it induces--brooding to bittersweet--and its constantly meandering cadence are awe-inspiring.

Värähtelijä is most definitely descended from trope-riddled black metal, but no other band is anywhere near taking the music in a more interesting and open-ended direction while retaining its brutal core.

The immersion of oneself in I<3UQTINVU allows you to reacquaint yourself with their vast electronically-led arrangements and also appreciate Jockstrap’s endlessly adventurous spirit.

The multiple styles and masses of guest appearances on Discombobulated could have produced a scrambled blob, but instead the community around the core band members adds clarity and strength.

The heartening, splendid news is that this first album, a self-titled, seven-track whirlwind, is full-on brilliant all the way through.

In so many ways, Monument encapsulates everything Molchat Doma has to offer. Having recently signed to Sacred Bones Records in January and a successful few months of nonstop streams, 2020 has really been a strong year for the group.

Make no mistake, this is gloriously hypnotic stuff, a fall into a rhythmic vortex that unscrews your head so it can pop your brain in the fridge. And, as the album progresses – most notably on the seductive ‘One Two’ – the realisation creeps in that what was originally considered abrasive has become a soothing form of chaos. An odd mix, for sure, but one that comes as sharp relief to the trying tedium of lockdown life.