Like last year's A Frightened Rabbit EP, State Hospital lacks some coherency in style, but its brevity makes this less of a problem.

Blessed with an old-fashioned FM radio charm, Here is a worthy follow-up.

Thematic speculation aside Green has managed, more simply to write a compelling collection of guitar pop songs.

It's comfortably K.R.I.T., neither venturing beyond the most basic facets of his developing sound, nor sinking below the standard he's set.

Despite the clear motives with the themes in the album, the instrumentation fluctuates in a chaotic manner that makes it very confusing to listen to at times.

As a package on its own, Air's Le voyage dans la lune doesn't hit especially hard, but when paired with the historic film, they become a dreamy, fulfilling piece of entertainment and mystery.

For better or worse, Chemtrails Over The Country Club is 100% a Lana Del Rey record that fits quaintly into her discography. Anyone following her up to this point shouldn’t bat an eye at how sharp of a left turn this is compared to her previous album. She’s absurdly contrived, but the allure is far too captivating to look away.

All in all, Two-Way Mirror is a good but flawed album, with plenty of things to excite, but a few things that can disappoint.

The People's Key just doesn't have the emotional pull that others do.

While his latest effort is leaner and lighter than Cataclysm, it doesn’t recapture the essence of Ratchet, which may disappoint some despite the artist’s clear intention to change things up. But for those looking for a breezy indie rock record with Prince-vibes, Shamir delivers.

There are so many acts both past and present who sound exactly like this; there are moments scattered throughout Somewhere that feel a little derivative of some 90s alternative acts. So, while Somewhere is a good start, there’s a lot more to accomplish for Gum Country before they can really set themselves apart from The Courtneys – or other bands.

Bankrupt! suffers because it feels a little detached at times, like you can’t really tell where the band are in the big picture.

They've ironed out their eccentricities, and produced their silkiest and least combative record in the process.

With much of the flash stripped aways from him, Craig Finn proves that he is a formidable songwriter first and foremost, and here we find him sitting on a stool and playing songs at his most comfortable.

This new release does function better as a cohesive work, but oddly enough they seem to have restricted their musical vocabulary even further.

There’s a lot here for 42 minutes and as a whole the album can be exhausting – but that feels very much like a deliberate outcome.

Tana Talk 4 shows Benny the Butcher’s improving his rhymes, but doesn’t offer any more profound insight into the man behind the microphone – even as we return to where it all started.

Even if it’s a bit much at times, Even in Exile could well be the best record Bradfield has lent his voice to since 2009’s Journal for Plague Lovers; it’s not a classic, but a very strong, autumnal call to arms.

Jace Lasek does an admirable job with the production, channelling a more nocturnal version of his own band's widescreen grandeur, whilst Suuns themselves evince a knack for memorable melodies without really producing anything in the way of actual hooks.

Knocking out fun little songs at home with old friends is all well and good, but it isn't hard to imagine a little more effort and sincerity resulting in something a bit more enduring.

They’re wisps and fragments that might leave you feeling nostalgic for the nostalgia that marked Payseur’s past. If only the messages contained within the songs rang as true as the guitars.

This is a record which feels familiar and safely experimental, while Williams reveals more of herself than ever before. Just exactly who that is isn’t yet certain, and where she’ll go from here is anyone’s guess, but it’s sure to be interesting.

The production by Yves and Lawrence Rothman wisely attunes to the 80s influences and sonic similarities, but it doesn’t force the band to live there. The recording exudes modernity with retro touches – not the other way around.

Like everything else the Cribs have done, In the Belly of the Brazen Bull is a relatively easy album to like, with sharp melodies and catchy hooks. It's just held back by a feeling of indecision that permeates tracks whose parts seem to want to go in conflicting directions.

Yeah, that’s a decent album. Flags towards the end, sure. Some rippers on there, though. Glad I stuck with it.

Despite a couple speed bumps, Dross Glop is as solid of a collaborative remix album as you're going to find.

I remember how the Fiery Furnaces are always willing to take chances with their music; I wish Eleanor Friedberger had done the same on Last Summer. Instead, she plays it safe, weaving interesting tales to the tune of surprisingly average music. That's fine, but playing it safe rarely makes for a good story.

He has this impeccable talent when it comes to picking the right sounds to liquidize his voice, even if that tends to muddy what he’s actually singing. It’s a shame that this time around Greene wants to distance himself from his two best records and early EPs, but Purple Noon is nonetheless an improvement over Mister Mellow because it brings most of what we enjoyed about his early work back – even if it’s not as heavily emphasized.