As a document of the way Belle And Sebastian have grown up in public to the sturdy staple of indie pop they now represent on a global scale, 'Push Barman...' is an essential collection of work that simply cements their status as one of the most inspirational musical collectives to have embraced punk's D.I.Y ethic since the late 1970s.

A two-hour odyssey of similar proportions to The Seer, this is an album that emphasises rather than establishes Swans' reconfirmed position at the top of the experimental rock tree, but that doesn’t make it any less of a thrill.

It’s the often perfect synthesis between lyrical content and production on OB4CLII that makes the album simply sublime.

Not only a deftly realised, enchanting meditation on time and its vagaries, the record is effectively a celebration of what we, as time’s denizens, are able to accomplish within it.... Divers is a colossal achievement.

It’s a jaw-dropping accomplishment, one of those records that’s almost pointless to listen to as a series of individual songs--tracks are mini symphonies in themselves, and to break Loud City Song down into tracks would be missing the point.

Bad As Me sees the performer reaching back into his bag of tricks to pull out a few favourites in a characteristically exhilarating, terrifying, heartbreaking, tear jerking, bone-rattling style.

It is a formidably layered, beautiful record that largely lacks big hooks or aggressive bite, and yet conspires to be endlessly satisfying on a micro level, a clutch of ballads that represent the band's most intricate musical trip.

You wouldn’t want one track or note to be changed or left out. It’s a genuine masterpiece: complex, funny, sexy, bleak, uplifting, inspiring and enthralling from start to finish.

Whether Dear Science stands the test of time like classic records must is impossible to predict right now, but, at this moment in time, it's sounding like one of the albums of the year, and its makers' latest, greatest masterpiece.

Return To Cookie Mountain is a party soundtrack for a fucked-up generation and an opus that inhabits the midpoint between the scarcely conjoining circles of eclecticism and enjoyability whilst maintaining consistency throughout.

Brutalism has lost none of its bite and stands peerless as a staggering album of unmatched sincerity and self-assuredness.

The kind of details she hones in on are so easily overlooked, but often the most jarring. Sometimes... begs you stop to sit and think about them for a while.

This is an album that could easily be subtitled Mission Accomplished, but for once, it feels like bowing out on top would be ill-advised. That, in itself, is quite the compliment.

POST- is an incredibly fun record, and its sequencing feels like the live experience. The way Rosenstock launches into each song is a delight.

There's an honesty of emotions, accentuated through the denseness and complexity of sounds.

Destroyer's Rubies is an inadvertent Guide To Destroyer - every defining quirk, every 70's pop nod and ill-advised but forgivable falsetto is condensed and framed, only without becoming something fans of Bejar will have all heard before.

This reissue is a welcome reminder of an album that has never quite gained the classic status it deserves, but despite this the vital ingredient--the intimate feeling at the heart of Painful--remains agelessly undamaged by the passage of time.

The improvement in sound quality on the re-release is remarkable; the songs, incredibly, sound even meatier and more imposing now. ... The nine 'new' songs, which comprise disc three, do feel a bit like fan service for those who were upset 19 years ago at the absence of the ‘Sunshine Woman’ sessions.

Banhart is a complete antidote to all the consumer focus groups or hit-writers, too scared to tamper with the formula. He has stumbled upon a personal Eureka that says there're no laws governing what can be written about in song except self-imposed ones and he's taken that to his heart, and in Technicolor.

The most fitting of testaments -- a flawed, courageous, beautiful and intimately human portrait of the self.

With their debut Mbongwana Star have made a really classic record for the ages, and what’s more, one that could shape a whole lot of music to come.

Skull-crushingly heavy, but not without a heart, 'The Woods' is definitely Sleater-Kinney’s finest (and loudest) hour to date.

Lonerism marks Tame Impala's arrival as a genuine force to be reckoned with, and even if at times there's a feeling Parker's trying to cram too many ideas into one piece, it's a record that will undoubtedly be used as a benchmark for guitar music of the near future.

For anyone interested in music that works both as art and an intensely new exciting experience--this is easily the best album that has come out this year.

There's an inner beauty--no, honesty--to this debut.

Radio Static High makes a perfect counterpart to In Black and Gold.

All We Love We Leave Behind retains the fire of Jane Doe and harnesses everything they've learned since, combining to create something unrelenting, brutal, and never short of magnificent.

Joy As An Act Of Resistance is everything anyone could have wanted or expected it to be: Idles have released the most relevant and at times gut wrenching album of the year.