It’s great, urgent music. Sad and enticing.

While Mannequin Pussy may not have necessarily progressed hugely, they have found thrilling new ways to implement the sounds that made Patience such a success. Most excitingly, the little glimpses of new ideas and chemistry suggest it’s just a stepping stone to what’s next.

The album dissolves as it progresses, transitioning from upbeat fare to a visceral dream sequence of disoriented meditation set atop a versatile soundtrack.

By the end, you’ll hopefully find that skins n slime is a perfect title for a record this overwhelmingly layered and engrossing.

Shall We Go On Sinning So That Grace May Increase? is a wonderful record of majesty and enveloping textures that radiate a sense of collective positive energy. Daniel Drew has produced an album of exquisite delight; mature enough to know its place in the world yet filled with childlike awe at how things could be.

Subtle complexity may not be everyone’s cup of tea, but that is yet another aspect of her music that is so impressive: unless paid close attention to, it will not appear to be all that complex. It will go down very smoothly regardless of the kind of lenses one views it through.

As his name implies, Ghostpoet can be vague, mystifying, and a little bit of a downer--but ultimately the best art is the kind that makes you think and broadens your perspective, which this record does in spades.

Ultimately, Nothing’s About to Happen to Me feels less like a radical departure and more like a deliberate deepening.

It’s a step forward, but one that feels entirely organic. Our little dramas and interpersonal frictions can often mask our own insignificance, but if we let that go then there’s beauty to be seen and Ricochet is an album that’s attentive to that fact.

52 minutes is a pretty damn lengthy runtime for a debut synth-pop album, but TRST flies by.

Ugly is so rich, so dense, so full that you forget there's just three of them.

Crawling Up The Stairs should be praised not only for its beauty, honesty and sonic specialty, but also for the way it’s sequenced.

Beginning with another Strokesian riff, Geese build momentum for a catastrophic finale and deliver the goods in an almost Deerhunter via Monomania-like fashion, before abruptly pulling the plug, and ultimately leaving us wanting more.

In the end, there’s a pure, unadulterated joy on display here; a spiritual likeness closer to the early new wave of Killing Joke and The Cure – or aforementioned 90s alternative rock – than to the poetic nostalgia of the indie generation.

For all its indulgence and fluid musical expression, Sex, Death & the Infinite Void doesn’t even crack 40 minutes in length. Creeper accomplish a lot in that time, and their new record is a suitably triumphant return.

It’s music to laugh about our former selves at, just as much as it’s perfect to get drunk and eat ice cream to – and in that, it could define a whole new generation. But for now, it will totally define this summer.

Animal is a beast worthy of its own spotlight and attentions. The genre-crossing is much less surface level, as the duo creates grander and grander platforms for Marling’s commanding voice. The whole thing is far more theatrical, full of slow building ballads and cresting climaxes.

Songs For Other People’s Weddings is a hefty undertaking like any full concept record of this sort should be, but it’s also equally charming and delightful all the way through.

A laser-focused record that’s their longest studio album since The Hawk is Howling, but has a lightness of touch that feels nothing of the sort.

Forever Means is not just a B-side compilation; these songs sound distinct from each other but somehow come together cohesively.

It’s a great American psychedelic record that retains an outsider perspective. And in that, a decade of ambitious exploration has finally paid off.

This set of songs, intimate and filled with lyrical and musical nuances that encourage repeated listening, is supremely rewarding. That resilient streak is sure to take Anjimile places.

It's modern sounding, and everything seems to fall into place; the lyrics, the concept, the music, the band chemistry, even the booklet artwork is great.

While No Love Deep Web is not the masterpiece The Money Store undeniably is, it still manages to be both a substantial step forward and, even more importantly, a work not easily forgotten.

Crafting an album that's bold and expansive but manageable and narratively sound is no easy task, and that's exactly what AU have done.

With this new record, Winter’s fortitude is on full display. It feels unabridged yet restrained, folksy yet contemporary, busy yet bucolic – a matter of perspective, a trick of the light.

It may not stand at the forefront of its creator’s dauntingly strong body of work, but Gold Record more than earns its place among his never-ending soul searching.

Dark Times is more detailed and specific in its mission and references; as a result, he seems less guarded, more vulnerable. The album’s sonics support Staples’ lyrical direction, conjuring ever-changing environments, ever-shifting interdependencies, and that identity is unstable, ever-evolving.