Gallagher has done a very competent job of producing the album by himself, but his High Flying Birds glide effortlessly at mid-altitude rather than aiming for the heights.

Shadow Of The Sun marks another triumph for the rapidly becoming essential Moon Duo, or Moon Trio as they should now be known.

This first outing is subtle, but somehow it packs in drama and poetry in a way that’s tender yet fascinating. It’s been well worth the wait.

Heavy Love is a fine, if ultimately inessential, summation of what Garwood does best.

Sour Soul doesn’t quite push any boundaries, but ultimately it doesn’t really matter, because even if there was potential for it to be so much more, it still just about ticks the right boxes.

Dying is a fine debut that suggests Spectres have a lot more to offer.

Restarter is not the sound of a band starting with a blank slate it is more akin to an artist simply darkening their palette briefly.

It might not be wholly successful but that could be due simply to our unfamiliarity as listeners with music that manages to be different in an instinctive way.

The Republic may not be an album that will make headlines but it shows a musician immersed in his art achieving a real consistency and equilibrium of sound.

What really makes Gliss Riffer stand out in Dan Deacon’s discography though is the feeling that you’re being allowed in to his own personal, private world.

The overall feeling is of a Drake record weirded out to its absolute extreme.

Ten Love Songs is an enormously creative, endlessly surprising album.

This is more than just a collection of blackened tectonic riffs however; Doyle’s deft songwriting ensures that there’s considerable subtlety and hidden depths to these songs.

Each song is so comforting, peaceful and downright beautiful that it’s like being lost in a wonderful auditory dream.

A couple of flaws prevent O Shudder from surpassing Out Of Touch In The Wild.... But this is still an impressive album by a band who possess intelligence, originality and personality.

To be blunt, much of Smoke + Mirrors is horrible to listen to. And yet, one can’t help but admire the band’s ambition and, on occasions, their apparent lunacy.

Ultimately, Vestiges & Claws is a solid return from González.... Though, as without a distinctive cover, his comforting, low-key style can at times become repetitive and forgettable.

Iit feels like there’s so much more music and ideas for them to explore, so many other potential directions for them to head in. For now however, this remarkably mature and accomplished album will do just fine.

Hexadic is most certainly a challenging and confusing album and one that can, at times, be a struggle to listen to. It is worth persevering however, for there are flashes of brilliance to be found in the constant battle between control and abandon.

With Blackbirds poignantly beautiful in many places, it may just be the one to do so.

A guilty pleasure for some perhaps, yet one well worth indulging.

It’s the sort of album that even repeated listenings can throw up a myriad of surprises: you never really get to know who the character of Father John Misty is (is he a self-hating misogynist, is he a sage or is he just a simple romantic?), but it’s clear that Josh Tillman has slowly turned into one of the most talented songwriters of our age.

Picture You succeeds in combining influences from a variety of genres to make an end result that’s lush and timeless.

Maximum Entropy is the somewhat frustrating work of a band with potential in need of some fine tuning.

Chants For Socialists is full of beautifully written and well-crafted tunes.

With Transfixiation now becoming the band’s fourth album, the formula of overwhelming noise was becoming perhaps a little too familiar. There are still elements of their early guise present, but the need for change is clearly reducing the decibel levels.

Idlewild have taken some time, done the latter and the result is their most accomplished album to date.

The music may be unspectacular, but it just works.