Far from a superfluous 'for fans only' reissue, this five-track record (which has been beautifully mastered from the original analogue tape) is a little piece of gothic rock history that should sit proudly in the record collection of any fan of The Cure, Joy Divison, Siouxsie and the Banshees et al.

On i don’t know…, the intentionality and splendour that began to blossom on her 2020 EP Projections are now fully in bloom. Tomberlin holds onto the sonic space that allows her delicate vocals to fly but introduces a host of new sounds, too – pedal steel guitars, brushed percussion, woodwind, twinkling piano.

Indie-goth, shoegaze, post-punk, all of these descriptions fit but none of them can begin to tell the whole story and with the arrival of In Search of the Miraculous there is a sense that this soulful, anthemic, continually evolving band are just getting started.

This is a magical release with far too much on display to communicate; it’s worth trying though.

The album as a whole is a strong argument for Olsen being her generation’s finest songwriter.

As always Deafheaven are anything but ordinary.

Sonic debauchery laced with moments of introspection, The Dare’s debut is worth the hype.

What’s remarkable about the album is how this disquiet slips in amongst some of the most purely beautiful music they’ve ever conjured.

It’s swift, at just 24 minutes across nine songs, but The Afterparty is Lykke Li at her very, very best, which makes her recent claim at an LA listening party that it could be her last, devastating. It might only be May, but it's already a serious contender for album of the year

Being Funny... serves not only as a reflective and refined record, but a showcase of The 1975's almighty journey to their peak, and how much they still have to offer.

Pleasure is easily Feist’s most difficult album, far from the immediate accessibility of The Reminder, but she's a captivating performer and it may well be her richest statement.

To be making music that can truly surprise you 13 albums and 28 years into a career is a testament to Alan Sparhawk and Mimi Parker’s continued dedication to their craft.

It may well be Power’s finest solo record, a continuation of the last decade-and-a-half of pushing himself into new sonic realms. It’s an astonishing work; actively abrasive and incandescent with fury with a core of unaffected raw feeling.

A real gem, this bold album brimming with character begins the etching of Chatten’s name among music’s greats.

Jericho Sirens is an incredible turn, and proof to the other half-hearted post-hardcore comebacks of the last years (looking at you At the Drive-In, Refused and more) that it is possible to still be high-quality and relevant. In fact, in places Hot Snakes' fourth album is so good, it even puts newer bands who have come up in the meantime to shame.

Overjoyed, Adios Amigo, and Rumer are worth the admission price alone. All told then, it’s a beauty. The album his fans have been waiting for. An album to bewitch people who don’t even know his name yet. Finally.

Hadreas toys with classic rock and Americana sounds masterfully, these canonical totems of genre upended by his tenderness and specificity of imagery. This is his most band-driven album, and all the players here are vibrating on their own collective frequency.

The overall bleed from one to the next, the movement of the narrative, is what makes this such a brilliant piece of work.

Slowdive represents an awareness of legacy, and the importance of not pissing all over it; to that extent, it’s an essential addition to canon.

Despite being an unnerving, disorienting listen, where samples of screams or phone calls clash with blank verse lines weaving in and out of consciousness, GOLLIWOG is a hugely rewarding experience. Blending an immense array of collaborators on the mic and behind the desk, it somehow manages to string them together cohesively in impressive fashion.

There isn't enough time across the space of one album for the contemplation that this music requires, but the spacious arrangements do their best with a wide variety of electronic affectations.

No Shape steps out as Hadreas’ brightest and most lavish record to date but, as in all the best fairy tales, it’s haunted by as many ghosts as it is populated by princes.

A natural empath, she wraps warm words around the shoulders of lives made wretched by those who breathe easiest. ... A monumental achievement that stands utterly alone.

In some ways, My Woman is the love song reimagined: a fearless and accomplished work whose deep-seated humanism is a stirring reminder that falling in love is for idiots, and that we should put our faith in any artist who might just convince us otherwise.

Love Hates achieves a mature tone, complemented perfectly by Roberts' gruff vocals and Hoorn's velvety melodies. Arguably, it's Hoorn’s increased presence on the record that lends this new air of grace.

This is the group’s masterwork to date, a thrillingly rich tapestry that combines passionate reflections on the meaning of black power, sharpened in particular by last summer’s Black Lives Matter protests, with sonic love letters to black culture past and present.

Process is an exercise in catharsis, a deep breath in that lays Sampha’s soul bare through gorgeous vignettes of his life. He worries, he regrets, he aches. He’s human.

Soulful, impeccable production shines on every heartbreak and highlight.