The Block Brochure is a daunting proposition and quite simply a difficult amount of music to process. This is unfortunate, though, given the sheer number and variety of gems strewn throughout.

Unfidelity stands out as a keeper.

In running time and number of songs, (III) may be their shortest album, but it's also their most cohesive personal statement yet.

By blending the conceptual drive of Post-Foetus and the organic songwriting of Baths, Wiesenfeld has delivered on the promise of Cerulean and found his place among contemporaneous pop experimenters like Grimes and Autre Ne Veut.

Unselfconscious and joyfully untrammelled, most importantly Never is charmingly weird--that quality so coveted by indie chancers everywhere.

Whether or not stadium pop is to everyone’s taste, this is it in its smartest and most human form.

Gorgeous, beguiling, strange and way way out there, records like this restore a sense of mystery and wonder to the world.

On 1989, she makes mountains out of molehills, but this approach feels one part the ironic distance of the digital generation, one part sincere embracing of the impact of life’s speedbumps. Nothing could be more 2014.

A Collection... isn't Maus' best record--played back to back with We Must Become The Pitiless Censors Of Ourselves, it blanches in comparison--but it's a fine insight into the mind of an inspired Lord Of Misrule.

The meandering, incidental quality of their music works alternately in their favor and against them.

AMOK isn’t quite dazzling, but it’s a clear improvement on its predecessor, and more than enough to win over old fans--and perhaps a few new ones, too.

Love, lust and longing are chronicled and dissected in True Romance through online relationships being gradually given tangible, tactile form, setting Charli up as a young pop star to be reckoned with.

By and large, this is a downbeat record, one suggesting maybe Albarn recently had a listen to ‘Mr Robinson’s Quango’ and decided never to do ‘whimsical’ again. Still, there’s a couple of more upbeat numbers that work in neat counterpoint.

Berberian Sound Studios is a wonderful, intense and darkly beautiful legacy to Keenan's unique character, and testament to the band's continuing ability as their world changes.

All things considered, this is a handsome, stately album.

Minor issues like that [decision to release Stranger Than Fiction as a hybrid album/mixtape led to some questionable choices] make Stranger Than Fiction very good rather than great, but Gates hasn’t sacrificed any of the characteristics that garnered all this recent attention.

In both musical and studio accomplishment Holy Other has come into his own as strong, individual, musical voice; Held is a strong display of this and is going to make a lot of people very happy indeed.

Cupid Deluxe starts strongly with ‘Chamakay’, ‘You’re Not Good Enough’, and ‘Uncle ACE’, but sadly loses focus.

Here’s an hour or so of music that’s cold as the cosmos and as unsentimental as physics, but something you can nonetheless gaze upon in awe.

For music that is over 15 years old, Back on Time sounds as fresh as a sitar-wielding half-stepping daisy.

Whilst The North Borders is hardly a stylistic leap of faith into the unknown there’s definitely a more confident and varied use of textures and instrumentation than on Black Sands, and it marks a new, very much worthwhile chapter in Bonobo’s continuing story.

The percussion is low in the mix and the bass way up, giving the songs a molten, fluid quality. The parts themselves, however, are guided by an erratic intelligence.

Government Plates is sometimes just incoherent.... But in the end these are minor quibbles.

On Mess, surface is meaning, with the album’s vacuous hedonism merely another expression of the theme of spiritual oblivion that Liars have explored ever since their debut.

At its core, Long.Live.A$AP succeeds because it lets Rocky be Rocky: a rapper with a unique voice and an ear for captivating beats whose lyrical shortcomings can be glossed over with healthy servings of charisma and panache.

When times are lean, Smalhans contains just the sort of shamelessly calorific dance music that we should be thankful for.

Personality's not a start-to-finish winner like Glass Swords was, but it's refreshing and gratifying to hear Scuba step out from the shadow of the Berghain and dreary discussions of the "dubstep-techno crossover", and start to release some music that sounds like it was fun to make.