Like Tyler and Brooks, Sheppard unveils his pleasure in what he sees around us gradually, his final destination ultimately unimportant so long as the quest is enriching. This is a trip that comes seriously recommended.

Time To Die is not perfect, but it's a nastier, hungrier album that stands with their best work.

The constant sense of apnoea and claustrophobia saturating all his previous work is gone, leaving space for a rediscovered breathing. Sprouting, springing, beaming, the lyrics follow the course of the seasons, paralleling the introspective thoughts of a man’s healing and the ever-beguiling cycle of nature. There is a light that filters through the notes, irradiating the sonic landscape like sun rays at dawn.

Rarely have a band so perfectly captured the nonchalant thrill of being beautifully stuck in their groove.

Far more than a collection of club tracks, it's an elegant, fully realised narrative.

Big Wows is a risky, but remarkable move for the trio--even the weaker songs in the lineup offer a buzzy dance break, densely layering up the punchy synths and calculated, sharp percussion.

Open Your Heart is the most thrilling and exciting album of the year thus far and one that demands your immediate attention.

Some of Collins' finest work can be found here.

Lower one’s expectations from its rescuing of the planet and Babymetal’s latest, Metal Forth, is a full-on hoot. .... Polished and compressed to the maximum, the metallic elements do their primal job of instigating the headbanging and devil’s horns. Each successive pop chorus is catchier than Saint Peter’s fishing net. The electronic details add to the endorphin-triggering lushness.

Like the curveball they are, Shake Chain zig just when you expect them to zag, proving that there is such a thing as a jaggy snake.

Dilloway, Gordon, and Nace stick in a precarious balancing act, a taut zone between form and formlessness. Like Mac Low, it doesn’t seem about recklessly pulling something asunder, but poking at the glue that holds the parts together. Delving into errs and stumbles and finding the poignancy that resides within.

Every moment on the album feels open, inviting every spontaneous sound that enters the fold. Much of the album occupies an unsettled, unpredictable trajectory that’s coloured by a sense of poignancy.

It is a proper bass album representing all aspects of the current dance music scene through a noble kind of austerity.

Nobody Loves You More is the sound of an all-timer breaking vast new ground while holding her head high.

Everything on the album is audible but nothing is settled. He has a skilled compositional hand and an ability to shape the shapeless.

A Short History Of Decay is raw, honest and painful: listening to its 10 songs feels like intruding on someone’s personal grief.

His finest work since the first two Suicide LPs.

Their most rowdy and rambunctious album yet.

Oczy Mlody re-presents Flaming Lips as a band to be taken seriously once again, despite how much fun they’re clearly having doing it.

While Stein’s arrangements are frequently simple, they are never sparse. Despite the minimalist approach to the songs, the production still sounds full, allowing distant echoing sounds to emphasise what’s there rather than imply what’s missing.

Put simply, this is one of the most exciting live albums to be released in many, many years.

Their musical vision is one that's so obviously well-honed that they know exactly when to kick the music into overdrive before lulling the listener back into a state of sonic paralysis.

While Sleep can be regarded as eight plus hours of ambient drift, it also grows into a piece of considerable emotional weight.

Each of the tracks on The Loud Silence pointedly, yet effortlessly, foregrounds the folk-y marranzano within the otherwise calm, techno-centric sonic context that Dozzy has outlined notably on Plays Bee Mask and with his group Voices From The Lake.

While challenging intellectually, Fountain is also nothing less than a pleasing listen, like a delicate wine that opens over time.

After The Disco is an exceptionally successful record filled with the type of uplifting melody we've come to expect from the pair, as well as more direct, clearer lyrics and an overall sharper edge.

Unrepentant Geraldines has an irresistible lightness of touch about it: its charms initially seem modest next to the towers of ambition Amos has previously created, but the generosity of melody and sheer prettiness of the sound wins through in the end.

This is an album that resists being the Other, but also resists even entering into a discourse that would consider that the only position. It is music innately of itself, and a privilege to hear, even at a considerable distance.