This Is What I Do leaves you spoiled for choice. Ruined, in fact.

There is humour--albeit dark--throughout this precious, timeless album.

When a partnership between such bold artists can endure for decades in spite of individual prerogatives, you can be assured it’s deep and real, and as Mazurek and Taylor each continue to expand their own practices, Chicago Underground Duo only gets richer.

One of Strut's best compilations to date.

Thrillingly, LP1 gives any record you might find us covering elsewhere on The Quietus a run for its money in terms of oddness.

The artists on C-ORE complement one another in that they share a certain darkness and an interest in digital experimentation, but their voices and methods are distinct, ensuring the album is defiantly unpredictable.

The tropes of romantic art are self-consciously manipulated, but the artifice is made plain, and the finished work feels more real as a result.

Funny, weird, irreverent, a bit messy in places, Wet Leg’s debut feels like a rollicking night out at your local indie disco compacted into thirty-six brisk and breezy minutes. Across a dozen by turns funny and fraught tracks, the highs and lows of twenty-something life are captured with zinging joie de vivre.

Probably the last recording of Reid playing live, before his death in April 2010, it is a fittingly energetic and exuberant performance.

The collaborations are abundant throughout Reflection too and mark some of James’ most assured offerings: her skills as a producer (particularly on drill tracks) are especially impressive. Through working with other creatives from afar, James starts to arrive at something that resembles peace.

Blizzards is a beautiful and fun and affecting record that never fully succumbs to the easy allure of nostalgia over its expansive sixty-four minute runtime.

With a discipline perhaps learnt from his extensive soundtrack work, Harvey has trimmed away the fat, so that every rhythmic or melodic touch serves a purpose.

Wizard Bloody Wizard still rocks hard enough to justify the occasional rebellious upward glance from the existential trudge down the long spiral into nothingness that they evoke so bleakly, and so well.

The pop hooks in contrast to their previous two albums are more subliminal. The melodies don’t always go in places you expect, but this music is best left to stew in the background before the magic manifests.

Clearly, this is the sound of an artist having fun, but one who avoids the trappings of self-indulgence.

It's an album which succeeds by virtue of elegance, and which knows a hell of a lot without ever seeming overly knowing.

Tthe album plays out like a mood swing of rage, despair, and an ennui that threatens to consume. It’s in that ebb and flow that Sightless Pit as a trio have found their balance. There is space for softness and melancholy. The organic is allowed to creep amongst the distorted or the electronic. Noise is only meant as a temporary shock to the system, not as a punishment to be endured.

hexed! is both a difficult and rewarding listen because it’s such a true portrait of the way trauma sticks to us, even if it’s sometimes dormant.

With Everybody Come To Church, Evil Blizzard have fused anger with commentary, psychedelia with post-punk influences and have created something that's wholly their own. The ceremony is about to begin and you'd do well to join this congregation.

Confession presents dal Forno’s music at its most lush and sensual, evoking 90s dream pop as much as 80s post-punk. It still has the chilly sensibilities of her previous work, but there’s a shimmering lightness there as well, like sunlight reflecting off the ice.

As it stands, Wake In Fright is a misanthropic social/personal/political blank cheque as bleak in outlook as it is righteously harrowing in sound. It’s 2017, and life’s a chasm. Uniform are staring right in.

Her debut album The Spoils felt like a spell thrown into a mirror of static, and more than a decade later, her newest album trembles with a similar sense of rupturing enchantment.

It is a record at once dark and joyous, fun and foreboding, gleeful and eerily apocalyptic. Curiously, it may also be the group’s most ‘organic’ record to date, an album whose every beat and every blip seems to question our sense of the real and the fake, the human and the alien.

SIGN is a welcome detour, a diversion, and in these difficult and complicated times, a salve of sorts. It’s as close to chill-out music as the duo are ever likely to get, making it the perfect Autechre album for 2020.

Lyrically The House That Jack Built is a masterpiece.

For open ears the recordings on Pakistan Is For The Peaceful offer immersive ever-spiralling tracks that reach ecstatic heights as they open up endless waves of spiritual harmonies, beyond the drone and into the unknown.

Throughout its ten years as a label, Hyperdub has managed to establish and uphold a reputation for consistently on-point and challenging releases that has seen it become one of the most vital UK independent labels, and the range of sounds present on 10.2 is testament to that.

Despite its overall lighthearted, ebullient mood, E.m.m.a's music is almost unsettlingly weird at times, and laugh-out-loud bizarre at others.