Some of Collins' finest work can be found here.

With The Gradual Progression, one definitely gets the sense that Fox is making an unselfconscious attempt to forge forward with music, an unabashed statement for progression. Though it’s not entirely successful, one has to admire this kind of ambition. He’s made an album that’s hard to describe in both generic and theoretical terms.

It’s a wonderfully dexterous and developed body of work that gives more of itself with each listen.

Whether by accident or design, Wooden Head is a charming record. It oozes gentle optimism--evoking, in its quiet euphoria, some halcyon aural safe place of lush hazy sunshine.

Everything Ever Written is a welcome return for a band that's long been held in high regard.

The detail is wonderful, ghostly and rich, but the whole would have benefited from a clearer, less meandering navigator.

In the case of Serpent Music, its magpie aesthetic can leave certain areas feeling improperly unearthed. This instinctual approach could have resulted in an uneven work, but works far more often than not.

Eleven great tracks out of twelves is a handsome return though, and the listener must surely delight in the fact that Harvey isn’t done with Gainsbourg just yet.

While the record as a whole rewards revisit, the excitement concerning its many idiosyncrasies inevitably levels off. And yet, that initial pang of shock never fully subsides.

While at times Flat White Moon struggles to match the awe-striking levels of the album’s opening track, there’s still plenty to enjoy.

Its [Daydream Repeat’s] arrival as fourth track brings a welcome levity to proceedings and you sort of wish there was more of it. Nevertheless, if Three is predictable in its lack of surprises, in Hebden’s case, that can only mean what’s on offer is sturdy and assured.

What's changed here is that the Weavers are now more than just writers of music; they are now enablers of specific atmospheres, able to handhold a listener through incredibly dense forest in very low light.

Silver/Lead is an exhibition in restraint whose brilliant corners and burrowing phrases reward both the keen ear and repeated listen.

Whatever tack they take Boo’s tracks are solid, heavyweight constructions that work as well as home listening as they would in a club

There’s a few too many repeated melodies, and too few differing musical moods. Still, this is a reliably impressive package from a man who knows his business, and crucially still has something to say. It’s Prime Numan in his prime.

Escapology is eccentric, full of twists and turns, screechy, glitchy and ambitious – undoubtedly a rare breed. After you complete the final mission, you are finally immersed in the artificial soundscape of closer ‘T-Divine’. The closing credits roll in. You have managed to escape and survive. Ultimately though, the listening experience does not transport me into a hyperstitional future. I feel more catapulted into an alternative past, which was polluted with fragments and ideas from the future we are inhabiting at the moment.

Gliss Riffer is a magnifying glass held to that opening in one hand and an opium pill twirling between his index and ring fingers in the other, egging on the impending lucid dream that's been in the works for years. He's only now offering an audacious embrace.

Prurient's Through The Window, a three-cut techno tour-de-force released this month on the Blackest Ever Black imprint, is at once limiting and liberating.

In A Dream is certainly not going to alienate those who adored The Future Will Come, yet it should be said there are notable points of evolution--most importantly Whang's prominence and the diversity of Maclean's songwriting. But it is difficult to place this above The Future Will Come, as despite the brilliance that Whang radiates throughout, there are up to three songs that sap momentum with their lack of vim.

Despite the high quality of the arrangements, the orchestration and the recording as a whole, it is a bit too much at once. A case of less would have been more.

An album that ought to be regarded as a creative peak for Suede, easily reaching the heights of their 90s best.

Those who had their hearts set on another batch of coy, cloudy electro-pop from the Swedish singer/songwriter might consider the song [Gunshot!] a bummer, but for the rest of us, it and the other eight tracks that comprise I Never Learn make for a stirring, pristinely rendered expression of heartache.

Pain: the quintessential Deaf Wish family album.

The Don Of Diamond Dreams feels imbued with a sense that alternative realities – different ways of telling stories, different mythologies to reflect our true nature – are always within our reach, if only we’re able to fully embrace our own imaginations.

Beyond the impressive list of guest stars though, this is an album that reflects on one person’s history and is steeped in honesty, grief and empathy as a result.

Put simply, Redemption is an impressively ambitious record, and its to Richard’s credit that she pulls it off as a cohesive piece of work.

The more cultivated recording process allowed textures such as strings, Tacular's accordion and Moore's sonorous and charismatic vocals to assume a richness that has not been heard before.

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