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

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.

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.

Fortunately, the contents don’t disappoint.

This time round, perhaps due to Courtney’s settling down and the addition of Girls keyboardist Matt Kallman, the band sounds fuller and more mature, with a tendency to look forward rather than harking back to the past.

In short, this time, they've nailed it.

Some of the best material she's ever penned.

[Once Krug's genius is realized by the world] then riches untold will pile up and allow him to do nothing but make albums like 'Heartbreaking Bravery'.

It might be as modern as loincloth, but ‘California X’ is surely a future classic.

This second album is exciting rather than essential, but if it's blown-out ears you want, PS I Love You oblige in style.

Far-out, fascinating, fantastic--just plain F-ing good.

'Major' is a more refined second effort, but one that still holds true to the band's promise of back-to-back hooks.

'A Different Ship' is a magnificent return.