Give yourself over to what’s not only a 21st-century masterpiece, but also something timeless that will resonate whenever you find it.

More than the sum of its parts. ... In returning to half-finished songs of the past with the renewed verve of the present, Callahan is constructing a future that looks likely to provide some of his best work.

All 11 tracks are evocative and addictive.

Recorded last year at Bestival on the Isle Of Wight, the band are as tight as ever; they’re clearly having a ball.

One of Will Oldham’s strongest albums in recent times, if not ever. .... It’s thoughtful, beautiful fare, along with a few singalong stormers (Mama, Mama will get a crowd swaying at 30 paces) as you’d expect from Oldham, but it’s in the lyrics that he succeeds in his desire for self-reflection.

It’s worth reminding yourself that the swarming deeps, lo-fi thumbprints and careworn erudition of Bowler Hat Soup--released in a limited run of 500 vinyl copies--would represent a career-best achievement for a preternatural craftsman of any age.

Evocative and enriching, Tiersen’s Eusa is a faultless work.

It is simply one of the most beautiful records ever made and anyone who hasn’t experienced it needs to stop reading and do so immediately. But for those of us who have, while they have already heard the best possible version of No Other (as we tend to learn from all box sets of this ilk, the best version got released), in these newly-discovered versions there is much to learn about and love.

Everything here is on point; every single element is executed with a stupefying mastery. Soaring strings, luxurious French horn, jangled distortion and purgative, unhinged vocals; all these things fuse together with glorious consequences. Utterly exceptional.

It can only tower when it comes to naming this decade’s great albums; miles above and light years ahead of anything else.

This is a proper major work, revealing an artist at ease with himself without resting on his laurels. In short, it is the sound of confidence. A Kind Revolution could well be Paul Weller’s greatest album to date.

This is no stop-gap, contract filler of a record but rather a perfectionist giving a great album the full workout it deserved.

It’s a dense, lengthy work (at 71 minutes the longest studio album of her career). Only one song, the ecstatic, pulsating techno of Sue Me, is likely to work on the dancefloor. Yet the errant, raucous confluence of sounds and styles has a homogeneity that works to create a beguiling, and ultimately hugely rewarding whole.

As Light Return pushes The Telescopes’ sound to newer, often much darker places. It’s a bracing and occasionally totally disarming listen, but utterly compelling throughout.

Despite the great weight of hype, Tame Impala have evolved into a satisfyingly altered form, both alien and humming.

Loose but not chaotic, Set Fire To The Stars has a poetic grace more than worthy of its subject.

With no hint of hype (but a lot of alliteration), The Usual Suspects is perhaps chef Wobble’s most appealing musical smorgasbord to date. It’s rare for one album to evince comparisons to both Lee Perry and Lalo Schifrin in style, or to Lonnie Liston Smith, Eddie Van Halen and Keith Moon with its musicianship.

Badbea fair glows with uncomplicated affirmations, literally buzzing with Collins’ unique wasp-tone guitar interjections--a sound that no one else has come close to approximating.

Their best--and most radical-sounding--LP to date.

This is their finest work to date.

Crowell continues to stake his claim as one of the genre’s most learned and accomplished performers, and if there is a gripe it’s that, at 11 tracks, the party’s over way too soon.

Those more straightahead tunes hint a sonically-reduced winter could be coming, but right now bask in i,i’s deep autumnal glow.

It’s fine for the moment and could even earn Krell the spotlight he craves, but when that fad ends, only the smart will survive and graduate to longer term success. Expect to see his mortarboard first and highest up in the air.

Movies are the best comparisons as Faun Fables’ dark yet beautiful songs are utterly cinematic.

The country-rock songwriting tones of Tired Of Being Alone and Falling Into The Sun are rich and expansive, the themes of finding comfort and purpose in middle-age – whether through rekindled romance (I Left A Light On, I Will Love You), artificial means (Self-Sedation) or self-reflection (Middle Of My Mind) – ring true, and big emotions continue to be captured, seemingly without effort, on their canvas.

He’s painstakingly conceived a uniquely personal concept which, for the first time, includes creating new music for the project.

Ray Davies’ dreams and reality combine to make Americana an absorbing listen. Just touching an hour in length, it is as curious and rewarding as anything he has ever done.

A long overdue return, and well worth the wait.