The 16 tracks here aren't just duplicate recordings--with sudden new depth we are able to complete an emotive, triumphant musical triptych.

Ringleader Of The Tormentors is the sound a man with a new sense of purpose, and in this extraordinary record he's produced a masterpiece.

Trick may well be his masterpiece, combining all the elements that have made him such an enduring and much-loved musician over the years to create a genre-bending classic.

It’s a rare skill to be both silly and devastatingly tender, and it’s all here to revel in.

It is a key work – a significant milestone – in the grand history of not only Sanders’ career, but the whole free jazz style he helped pioneer. ... This is a truly joyous album, and a purely pleasurable experience.

Against all odds, the completed Mezmerize/Hypnotize project is actually greater than the sum of its parts - in fact it quickly becomes impossible to think of it as anything else than one epic piece of work.

Trail of Dead appear to have dropped the noise, and bought out the tunes.

A wonderful album, undoubtedly a career best and an exemplary case study in how to respond artistically to a life-changing event.

This mature, nuanced performance of Berlin communicates the human tragedy of the story, leaving behind the chilliness of the studio and using the medium of the stage to its full dramatic advantage.

It is, quite simply, one of the essential albums of the year.

while Silent Movie felt like a minor departure, this record still manages to sound deeply connected to its predecessors.

The recordings here are ideal for longtime fans, whose only gripe might be paying for material that they already own. But this is not a big problem when you consider just how many rare tracks you get for your buck.

It’s an exquisite, softly delivered wonder of an album which contains many of the things that he’s excelled at over the years while leading The High Llamas.

What Perfume Genius started with Too Bright was strengthened and solidified on No Shape and has been brought into full focus here, and nurtured to full bloom.

The Car, the band’s seventh album (and is the exact same length as their second album Favourite Worst Nightmare to the second) is another step further into the cinematic world they created on Tranquility Base. ... This band have continuously captivating for nearly two decades now, and Alex Turner must be a generational talent. So clearly this is a great album.

Gloriously free of filler, it would be an easy and enjoyable task to eulogise every track on Changing Of The Seasons but it seems a little brash to over-stamp opinion on such an individual and immersive listen.

Evil Urges represents the creative peak of a band that has shown glimpses of greatness in the past and will hopefully continue to evolve in the future.

It’s the album that disproves the myth of the ‘Mercury Prize Curse’ and also consolidates Dave’s reputation as one of this country’s most important and impressive young artists.

With mystique to spare, it's a record to cherish.

This is Public Image Ltd at its best. This record is good. Outrageously good. Better than a record of an artist of Lydon's vintage has any right to make.

But for both ["The Heinrich Maneuver" and "Mammoth"], and indeed elsewhere, it's the way in which the elements of the track click into place with a Swiss watchmaker's precision and artistry that really hits home.

In a year that's already been rather special for great albums, Merrill Garbus may well have produced the finest record of the year.

This is the debut record of the year so far, which has effectively raised the bar by which other bands will be judged in the future.

It is also one of the most jaw-droppingly beautiful albums that I have heard since its predecessor.

Untrue is complex, stark, tender, blurred and breathtaking. Burial has managed the impossible and improved on his faultless debut.

Throughout Ants From Up There, they seem to revel in the creation of different atmospheres rather than the laying down of hooks or choruses.

It makes for a wonderfully life affirming record, capable of humour, joy and reflection. Every home should have one.

What Folklore ultimately achieves in its narrative of escapism is reinforcing the notion that Swift isn’t one of the greatest twenty-first century artists because her work is autobiographical, or because she leaves cleverly crafted clues leading up to her albums (although these are all interesting elements) but rather because she is, first and foremost, a storyteller. Folklore is sad, beautiful, somewhat tragic, a little bit off the wall, but most of all it feels free.