If we could compare each of Fuck Button’s works some sort of dazzling spectacle, whether it be a firework display, a meteor shower, falling in love, or something of the like, than Slow Focus makes a strong case for being their most brilliant event yet.

Most of the songs on In A Warzone are full of energy, and it’s hard not to get swept up in the slimmed down punk rock that the album delivers with gusto. However, there is definitely a point where they start to sound very similar.

With Jinx, we get to see a promising band push their sound outward and gracefully mature, even if it doesn’t always floor you as immediately as some of Sports’ loudest moment do.

Circumambulation practically evades any trace of sheen that was found on their two previous efforts. The differences are minimal but not predictable, lying somewhere between sludgy stoner metal and expansive, yet acute rhythmic precision; it’s their ability to never stand on solid ground that elevates their caliginous mid-tempo tunes.

You may well have to look elsewhere for music that will one day remind you of 2013, but this is still a great, brief blast of noisy, off-kilter rock; a consistent debut which sounds better each time you hear it.

Yes, it’s been done before, but as much as there is to nitpick, there’s just as much to revel in.

Me Moan is a challenging effort that rewards as much as it confounds, and really doesn’t bring us anywhere closer to understanding Gibson’s true guise.

So while it’s worth checking out, DVA lacks any real core.

While the music might still be a bit detached and remote, the more collaborative nature of this record does make it easier to meet half way, as does Stelmanis’ unerring sense of pop melody, and of when to drop a 4/4 beat for maximum effect.

Kveikur is a strong album, one with no low-lights and an intriguing progression of sound.

What we have here is an album’s worth of incredibly passive, indifferent music-making.

Between the two, disc 1 is more memorable than its counterpart, but together they still form a fascinating insight into one of the foremost production talents operating on our shores today.

Even if they’re slow in the uptake, and a cursory listen will only reinforce them as makeshift compositions, the tuneful nature of the album begins to flourish with repeated spins.

For Long Way Down is an album that, while often samey and, in the grand scheme of things, says next to nothing, heralds the arrival of a highly talented artist.

Soft Will won’t enter the annals as album of the decade, but it showcases the tools and talent to make it happen one day.

Tomorrow’s Harvest, the duo’s latest, is a perfect reminder of how well these two can bring their unique aesthetic to life through music.

There’s enough raucous obnoxiousness, not to mention effortless expert musicianship, in these eight tracks and thirty-five minutes to mark Melt Yourself Down out be the front-runner for not just that token Mercury nod, but the ironic moustache twiddling party album of the year.

It’s a dense, difficult listen, nigh impossible to compare to the rest of Kanye West’s work, and its rewards come slowly.

It is by far their most focused and polished album, and Danger Mouse makes sure that everything is sonically smooth (even if a few feel almost like Broken Bells b-sides).

While it undoubtedly holds some of the strongest songs of his career, it doesn’t entirely fulfill the promise of a conceptual framework.

It’s a solid record; put it on and forget it.

Sunbather needs not to be judged as black metal, post metal, or any other subgenre, but simply as heavy music--loud, visceral, beautiful heavy music.

Crawling Up The Stairs has strong riptides that have no qualms over carrying you away, but if you embrace them you may be pleasurably surprised.

While it would be remiss to question an artist’s chosen working methods, perhaps if Elizabeth hadn’t been quite so fiercely independent in its recording, and had had to compete with the usual unwanted distractions of the outside world, then Dancing might not have been just an impressively accomplished album, but a more striking, perhaps even outright essential one.

Any band that can turn over vocal duties as often as they hold onto them and somehow make all the music sound like their own is a band worth watching, and despite its inconsistency and even its lack of imagination, there are a lot of thrills to be had in this hour.

This is an album of average to good songs, with only a few highlights.

...Like Clockwork is easily the best release from the band since Songs for the Deaf.

Though it’s tough to get a sense of what exactly it is that’s causing all of this suffering, the details don’t seem so important in the end, as Drifters / Love Is the Devil is the sound of pure isolation and dread wrapped in one bleary, beautiful package.