A fearsome, mind-bending collection.

The very retro Sleeper is an acoustic affair, characterised by bluesy downers and portentous balladry.

Psychic is perfectly executed, impenetrable.

Thanks to the sheer joy with which he performs it (produced here for the first time by Kieran Hebden), it’s irresistibly, inevitably satisfying.

Frankly, it’s a delightful, demented journey into pure psych chaos. Essential listening.

Copious candid personal insights are shared with the gravitas of Johnny Cash over a bit of blues here, a fleck of folk there, and country stylings aplenty.

'Lost Souls' is so preposterously raucous it should have the record industry running scared at the point of a pitchfork.

Another near-flawless piece of work.

'Coexist' is a refinement and crystallisation of their debut.

So with their fourth LP, where they burst from the tracks with peppy numbers like ‘Holy’ and Biffy-esque choruses on ‘The Woodpile’, it’s a mite disappointing.

Beautiful Rewind is the sound of an artist looking to cut loose, and its playful spirit proves catching.

It's a startling beginning, but it's followed by eight equally mesmerising, if altogether different, songs.

Be Strong is funny, innovative, uplifting and, most importantly, always fun.

Melody's magic combination of dreamy sonics and saccharine vocals is an inexorable pleasure.

It's really bloody good.

Over far too quickly, it's another near flawless record from the Manchester trio.

There’s a sheen to much of Days Are Gone that can prevent you from delving further. But it’s a minor quibble on the whole, chiefly because the songs are strong enough to keep pulling you in for repeated listens, each hook burying itself deeper and deeper.

Morbid one minute, cute the next, finally untangling 'Choreography' is an engrossing pleasure.

They've left easy indie-disco hits behind and are now proving they're some of the most capable songwriters around.

Whilst Lorde’s world creates its own incredibly distinctive atmosphere, it feels accessible and open to maturing.

This is music that demands to be played loud, and often.

Bold, vulnerable and pleasingly disjointed, miraculously Night Time, My Time was worth the wait.

An intimate and very British release to cherish and hold close; it also happens to be one of the year’s best so far.

As closer ‘Black’ fades out, it’s clear MONEY have made something special and, maybe, even sacred.

Deerhoof's eleventh album continues their long tradition of delighting and confounding in equal measure.

As the title track gradually morphs from delicate ballad to fisherman shanty to blissful climax it's hard not to be awed, even if those casual listeners might not find much to keep them.

Jamie Stewart's most preposterously tremulous and knuckle-whiteningly transgressive work.

Whilst possessing the rich production values Dear's typically celebrated for, 'Beams' sees its creator grow with confidence, slipping into James Murphy's grubby Converse with ease.