Even though the idea of listening to another quarantine-inspired ambient record might seem off-putting, the rewards are simply too tempting.

Some of their most accelerating work across their career path thus far. ‘Forest of Your Problems (Outro)’ offers a friendly, until next time. A great third studio album.

It is enlightening, wry and devastating, but most of all, it's life-affirming.

It's tempting to assume that the box--call it psychedelic rock, acid punk or what you may--is their base of operations, but it's really not that simple. Bo Ningen will take your labels and whirl their chaotic vortex right through it, leaving splinters and eviscerated expectations in their wake.

It is in this emergent, slightly surreal space between music and politics that Jaar’s syncretic talent shines through.

Conatus seldom reaches the same level of experimentation as Danilova's collaborations with the likes of LA Vampires. But what she proffers instead is far tastier: a deft fine-tuning of the slick and stylish formula of Stridilum II, with the slightly schlockier moments of melodrama eschewed for something more sophisticated.

Requiem is unlikely to be an album that creates a new legion of converts, but for devotees of this true innovator it’s an incredibly rewarding one.

Her talent for writing great ballads à la Dusty Springfield is still evident, too, on ‘Lost’ and, of course, ‘Far From You’--completing the sonic palette of a magnificent pop album.

Herd Runners is another excellent record by a disastrously underrated songwriter who doesn't believe in love, but doesn't get enough of it either. There's only so long he can wait.

The live recordings feel raw and vibrant, capturing the energy of the performance, the power of the music, and the subtlety of emotion.

A marvelous record packed with charm.

It’s the sound of joyous, playful experimentation squatting the rarefied worlds of chamber ensembles and concert halls. .... Even when Daniel steps furthest into abstraction it never feels like pretensions towards aloof, high art alienation.

From start to finish, A Common Turn takes you through Savage’s liberating highs, all whilst throwing you her turbulent lows – a raw and emotive album, to say the least.

Despite the transience, this is the most settled and mature his work has ever sounded. To put it another way, it's a look that suits, and you hope it sticks.

Across the album, lyrics leap suddenly out like car lights in a dark tunnel, illuminating unpalatable truths with the sarcasm on full beam.

This brand of brooding synth instrumental has been so long entangled with narratives, it’s perhaps the ultimate test to make it work without without any framing context; to inject enough substance into the music for it to carry itself. Jean-Michel Jarre managed it, Tangerine Dream (sometimes) managed it, and with The Capsule so have Necro Deathmort.

It strikes a perfect balance between the emotional rack-drawing that's made them beloved to many an indie misanthrope and the warmth and hope that makes them better than mere scab-pickers, just as it offsets their talent for unashamed anthems with dark and gnarly little details. It's a beautifully layered construction.

Lissy's insouciant delivery and impressive range, which scales the heavens one minute and fills her boots the next, marks her out as a singer of some considerable talent, and her voice is always engaging and likable.

What Cale has done here is not only intriguing in its own right, it also manages to beat artists half the maker's age and younger at their own game and also has more to say.

It is that expanded awareness of what is possible within his derivative style that makes Fanfare a fascinating album, and a significant step forward.

This album strays towards monotony at times, but a plum guitar solo or a sweet-sharp lyric will always hook you back in. Shannon & The Clams are a band of cult status, and this album should expand that cult--it is their most powerful and poignant work to date.

Though the album very occasionally loses its way, getting mired in space-age jazz stylings, it is undoubtedly a superb album that greatly expands on the classic Vanishing Twin sound and mixes it with a sense of experimentation that only occasionally fumbles.

There is still a lightness of touch to Who Do You Love; however dense the writing gets, no matter how ludicrous and far-reaching in scope, it has enough of a knowing sense of its own bombast to prevent it from becoming po-faced.

Start with the bangers – and there are plenty, mostly front-loaded. ... It’s a visceral and strange album, one that revels in its abstractions, but is direct in what it has to say.

There is no doubt that Become Zero is a heavy record in every sense, an obliteration of the senses to leave one wrung out and euphoric, offering both epiphanies from Heaven and elegies from Hell.

Re-working black histories through both a personal lens and the structure of modern technologies, Moor Mother has created an album as a mythos of possibilities, a cartography of hope.

Mr Dynamite combines something genuinely sinister with a sense of fun, and far from being a whimsical side project for its members, it can be regarded as a landmark release for all of them.

DNA Feelings is a beautiful follow-up to Of Matter And Spirit. Investigating what it is to be human, and how transcendency might happen today, Devi winds ideas together and crafts her own sonic spirituality.