'Abattoir Blues' is weirdly full of wonderment, and - get this - 'The Lyre of Orpheus' is even more joyful! And they both kick Nocturama's arse full of buttonholes.

Dicing with folly at every stage and coming out victorious, 'Blinking Lights...' is sprawling, galling and downright enthralling.

Bugger if the Furries haven't gone and exceeded their own expectations with this, a total stonker of a new record that cannot fail to excite and delight on, oh, so many levels.

A wondrous re-emergence.

If there’s a problem with ‘This Is For Real’ and you’ll have to really look, it’s the fact that it’s a tad too shiny. Not much, but, at times, it’s lost a bit of that dirtiness that made the Grease so appealing.

Basically, this is a fantastic band releasing twelve brilliant songs, and it's not only the best guitar album you'll ever hear with no guitars on it, it's one of the best this year generally.

Even after one listen it's apparent that 'Untouchables' is a monster of a record.

An unfinished album, and also a beautifully accomplished one.

Easily one of the most essential sessions albums ever released, this, and probably one of the year’s most essential, full stop.

Like 'Deserter Songs' and 'All Is Dream' before, 'The Secret Migration' is a compelling, visual album. And yet within this, Mercury Rev have moved on.

Here is an album with all-new complexity, unforseen depth and many delightful hidden layers.

'Gotham!' is an infinitely danceable and certainly insightful record that gets better with each listen, on every frequency.

A beautiful, engaging, enchanting record.

Repeated listens propel it towards sounding like his best yet.

There is just enough balance between the tune, and the unexpected jazz chords, ear-splitting squeals, and lovely harmonic noises to make it forever listenable.

Gleeful, glorious, and utterly unique.

'Want Two' is simply in a league of its own.

Like Spiritualized re-scored and re-scripted by Timothy Leary, something inescapably dark, dread ridden and mesmeric lurks within these tracks.

'The Drift' is an extraordinary piece of work, even more challenging and expansive than Scott Walker's startling last album.

At the end of the day this is a bit more of a grower than the last one, but is easily as good.

As with all Blonde Redhead albums, there is no real standout track to pinpoint. Instead, they've made a terrific progression from, and succeeded in the daunting task of following, 'Misery Is A Butterfly'.

It's not overestimating matters to call 'Tones of Town' a timeless masterpiece.

What's apparent from playing this album is that almost everything they've got is a killer single.

Up there with the best debut albums of this, or any decade.

Say hello to the future of electrofilthsoulhop.

Fischerspooner might be harking back to a more colourful age, but '#1', more than any other album apart from, perhaps, 'Original Pirate Material' is very much The Sound Of Now.

This is a subtle record that rewards what you're willing to put in.

'Fatherfucker' is one motherfucker of an album.