On this their second album they have created a sonic world that is heavy with atmosphere, tension and gothic drama. The anxiety of the guitars and basslines are a thread throughout ‘Never Exhale’ and yet alongwith the striking percussion it all hangs together as a most glorious whole which will envelope the listener and weave its spell.

On first listen, it’s hard to ignore a sense of inconsistency and feeling that something’s lacking from its second half. That said, come the second time listening you start to stop questioning the diversity and simply celebrate the fact they’ve got the repertoire, and guts, to mix everything up and make it work.

While some tracks do begin to sound alike, the effortless cool that drips from the more fleshed-out and established cuts provides Nosebleed Weekend with more than enough substance to make up for them.

Hopefully the addition of vocals, and modular synths heard best on the ‘Naga Ghost’ outro, signals more experimentation in the future.

A step beyond 2022’s ‘Superache’, ‘Found Heaven’ stretches Conan Gray’s pop template once more. Often emotive, it lingers on his truth while relishing synth-pop immediacy.

While Scott might spend the 14 tracks telling us how incoherent he is, Birds In The Trap Sing McKnight is anything but.

A solid addition to his discography and undoubtedly more unforgettable than his debut.

Hecker’s music alerts us to a kind of universalism grounded in the painfully specific. To be ambient in feeling, to be ambient in song, to be ambient in devotion--this is Hecker’s project.

The unabashed experimentalism can be jarring at times, but the project ultimately refuses to play it safe, carrying a quintessential European pop sensibility throughout.

A bold and confident return.

It’s a fully realised, sprightly rocking album that proves that sometimes musicians are best left alone to do what they do best.

Joyce Manor’s latest is a very likeable and highly-charged return from a proper contemporary cult band, one that boasts an admirable ability to tap into a resonant well of impassioned feelings, in spite of one or two slightly misjudged digressions.

The result is an LP that displays an encyclopaedic knowledge and understanding of its references, without being reduced to mere reference.

His distinctive songwriting style remains, yet it’s the addition of piano, beats, sax and electronic production that gives 'Gratitude' a production sheen most fans may not be expecting. It’s also what lends a progressive edge to the record that takes time to soak in, but ultimately rewards.

Creating a whole performance rather than unrelated pieces orbiting one another, Arcology is an adventure--not something a lot of albums can lay claim to.

Their most confident and assured release filled with the promise of things to come. One for you wicked souls out there.

This is God Damn growing into themselves, their sound and with a UK tour in full swing running into October; it’s only going to get better from here onwards.

All in all, ‘Henry St.’ is the type of cozy album you’d stick on your record player on a rainy Sunday and is a strong comeback from The Tallest Man On Earth indeed.

A dark and perilous experience, one just hopes there’s light at the end of Adams’ tunnel.

‘High Risk Behaviour’ clocks in at under half an hour which is a good job considering The Chats only have one trick, but strewth they do that trick well.

Mightily impressive.

Whilst it’s nice to hear a change of pace for twigs (and to, on occasion, genuinely hear her laugh), there’s not as much focus on experimentation and expression, which could disappoint some exacting fans.

It’ll definitely prove a little too keen on mid-1990s house beats for younger ears, but it’s a sure-footed statement of intent from a top newcomer amongst 2014’s pop crowd who, on this evidence, is going to contend for further number ones in the coming years.

The land may not currently be fertile in terms of crops but it certainly is in artistry, as there is a wild eclecticism and experimentalism here that touches the soul.

Whilst other songs such as ‘Turning Onto You’ don’t particularly inspire and feel somewhat under-produced, the album remains pensive, zesty and delicately crafted. This is truly an album to draw comfort from throughout winter.

A charming, timely return.

Building shifting ambient electronic compositions, there's no easy way into his world and Replica is a brooding testament to patience and investment.

Overall ‘Quarter Life Crisis’ reigns true to Baby Queen’s signature synth-pop sound whilst being let down by lyrical cliches on a couple of the more manufactured upbeat, pop tracks. The album, however, triumphs on the more toned-down tracks showing a new dimension to the alt-pop starlet’s songwriting style.

Whilst the album could do without a cover of Billy Joel's ‘Just The Way You Are’, it doesn't detract from the overall feeling of warmth threading through this project.

It’s anthemic, eclectic and is a powerhouse of a record that feels like they are having more fun and giving a more ‘zero fucks’ attitude than ever before and we are here for it!

Dreamy but real, hazy but pure and insightful, this project facilitates fresh ambition and explores new ground for Real Estate. And maybe, this record will take them even closer to that elusive ‘main thing’.

With Ric Wilson, YMCK and Mndsgn coming on board, the band’s collaborative effort to produce a rebellious and determined album has been able to come to fruition.

Patina is a solid sophomore effort, and perhaps hints at the promise of a greater sonic exploration to come with their future releases.

It may not be quite up there with fan favourites ‘Fever’ and ‘Light Years’, but proves a lot more memorable than ‘Body Language’ or her previous studio set, 2010’s ‘Aphrodite’, were.

The resulting work is cracked but compelling, a real warts and all record that slaloms its way between moments of breathtaking romance and ugly reality. Occasionally its composition feels scrappy or unfinished, but this doesn’t particularly mar the experience of listening to it.

The joy is in the ambiguity and Braxton's exemplary manipulation of sound and space.

While it wouldn’t be unfair to say that the best moments generally belong to Barnett, the combined force of the duo produces a piece of work that certainly doesn’t seem like too much a step down from the superb ‘Sometimes I Sit And Think…’ and ‘b’lieve i’m goin down…’ that had us all so captivated back in 2015.

In its pursuit of a more full, cinematic listen, the project is occasionally hindered by its sense of spectacle, struggling to form a genuine, consistent bond with its listener. Even so, 070 Shake illuminates a path that not many can tread with such confidence, an elevating spirit that pushes the parameters of her craft.

If you’re in the right mood, it’s a fun slice of cosmic silliness that absolutely deserves to be packed away in your coolbox and brought out, nicely chilled, in approximately five months’ time. However, if your vibe is even slightly off then it can quickly become annoying in that subtle way that’s hard to register at first, but soon makes itself felt.

‘It Won’t Always Be Like This’ distills an optimism we can just about taste, but can’t quite feel. The sound of a band coming into their own, it finds INHALER taking a deep breath, and making the most important step forwards of their career.

While it features some surging highs, it doesn’t quite dispel notions that Anne-Marie has yet to nail down a singular sound she can call her own.

It's almost a back to basics approach.

With plenty to digest, there’s no lack of ideas, if maybe a lack of focus. Stripping this back to a leaner, focused synth set might have injected a bit more punch. That said, Office Politics finds the underrated genius as acerbic and creatively inspired as ever.

In a way an ideal sequel, but it’s a missed opportunity to find out more about the man.

It’s enlivening, inspiring, frustrating and maddening in equal measure--and you always wonder what’s coming next.

It’s an eclectic mix, and the quality’s as variable as the sound. But by jumping from style to style, and showcasing artists who really ought to be better known, Snoop keeps the party as scrumptiously enjoyable as his recipe for Spaghetti de la Hood. And that’s all he’s really trying to do.

It’s a self-assured, hook-laden set, and it’s exciting to imagine what they’ll do next as they settle into their roles.

There are a few misses, however. ’Do The Romp’ is sheer bar room bluster, while ‘Coal Black Mattie’ seems to stray too far into the line of being merely copyist. Yet when it works, it certainly works – potent and atmospheric ‘Delta Kream’ undoubtedly has its heart in the right place, while the core material stands as some of the most addictive elements of modern blues songwriting.

While the comedown is expertly managed, one begins to pine for the glossier touches which Molleson clearly excels at. Nonetheless, it’s an album brimming with vigour and ideas from start to finish, and likely set to be one of the UK’s most engaging debuts this year.

As always the songs veer wildly from ambient interludes, funky Beta Band-esque workouts to fierce garage rockers. Looking at the material here though, they remain a band to be reckoned with. Their lo-fi, experimental psych rock is as potent as ever with Newcombe a character to be cherished.

It still stands tonally a much stronger package than his last two releases and is filled with far more highs than lows.

Ogilala is nothing particularly new or revolutionary for fans, more a strong reminder that there’s a reason why Corgan managed to shift millions of units with his brand of moody rock.

‘Yungblud’ has some of Harrison’s best tracks to date, but, as a whole, it’s not refined enough to be his magnum opus.

The album does lose momentum towards the end but hey, here we have a relatively new band experimenting with the boundaries of their proposed genre, with generally impressive results.

It feels like a career-straddling greatest hits collection in which all the ‘hits’ are brand new.

In terms of consistency, ‘Venus’ doesn’t quite match her previous work. Sure, it’s heaps of fun at times and packed with plenty of euro pop bangers to satisfy the faithful, but this time around, otherworldly, celestial highs compensate for moments when Larsson surrenders to commercial viability during its unfortunately frequent lows.

Despite a slight moment of monotony in the back-half, it’s a debut that succeeds in introducing their eclectic current set-up while also highlighting their huge future potential.

'PREY//IV' is not simply music to listen to: it’s an attempt to communicate genuine pain in ways that simply aren’t possible through a written statement posted online. Little surprise, then, that the lyrics go for the jugular on occasion (“You taste like rotten meat”; “Are you picturing my insides outside of me?”). However, they’re at their most effective when their visceral imagery gives way to narratives of coercion and control, as it does on 'FAIR GAME'

This is an album made by musical artisans, who know exactly how to translate the sound in their heads on to record.

The story of Icarus is one of tragedy, but there’s only signs of success within this offering as ZAYN begins the journey to realising his full potential.

Cells brings a sense of immediacy and creativity to a genre long neglected by the mainstream dubstep epidemic.

The result is an intense kind of dialogue between man and machine, and draws from the typically organic piano sound a new, otherworldly texture.

There’s a playful sense of bawdy humour at work across White Women. Some may find the irony unpalatable, but there’s little denying Chromeo’s cheeky pop mastery.

Outer ventures further into this new realm with an even more polished sound that doesn’t shy away from the cheesier moments. Still, the duo’s effortless delivery of multiple styles wrapped in one tight package remains very compelling.

This is a messy, distracted record for messy, distracted times. Its creator has produced something studiously imperfect, a cracked vase that’s beauty you can’t help but admire while still wishing you could see it perfect and whole.

A return to a more DIY approach delivers plentiful psychedelic sounds and heady hooks, emanating joyful warmth in spite of a seething thread of cynicism amid troubling political times.

It's a real labour of love where every track has not only been meticulously thought about and placed, but it's clear that Hopkins has thought tirelessly about how it fits into the wider picture of the collection as a whole.

Starting with offbeat rhythms and minor key vocals the album is not as accessible as "Has A Good Home" and less adventurous than "He Poos Clouds"--yet there’s something that draws you into Heartland.

‘Sell Sole II’ isn’t quite the breakout moment fans hoped for, but it is most definitely her strongest, most in-depth project to date.

With as many albums in this century as in the last, ‘Yeah Yeah Yeah’ finds Cast building on the momentum of the previous two years with both confidence and quality.

Jesus Is Born - as a stand-alone album - is pretty neat.

Grace/Confusion sees Hawk get back on track, by remembering what worked in the first place.

Overall, ‘ASK THAT GOD’, is a journey in every sense providing enough density and style changes to keep listeners intrigued to the very end.

Though moments fall into realms of safety, churning out easy radio-hits, we’re hoping she continues on this venture into more diverse sounds - as those more exciting, genre-fusing tracks are pretty fabulous.

The overriding, inescapable, and most important aspect of ‘Amen,’ though, is that it is fun. Fun to listen to, fun (it seems) to have made and no doubt fun to perform.

There are moments of meandering musicality, and uncertain songcraft. That said, there’s plenty in here to soak up – from its title out, ‘Let’s Start Here’ seems to point to a fresh beginning for Lil Yachty.

The band's melancholic core remains intact on a record that's best listened to through headphones in a big coat while crying. What is noticeable in its absence is any foray into flat out, ear-grating noise á la 'Doe Deer' or 'Alice Practice'.

A very listenable experience, as no tracks outstay their welcome.

Despite the album’s missteps, Coldplay manage to find themselves pockets of beauty in the midst of the chaos that they themselves have ironically created, to craft something melodically unique that whisks us back to 2008’s watermark 'Viva La Vida' era.

A succinct declaration of independence, ‘Formula OneDa’ finds the Manchester rapper nailing down her testament – she implores you to listen.

There’s still the trademark sass and joie de vivre throughout, but this feels like a more mature and evolved body of work from Rita who has shed her skin to show some vulnerability and creativity than before.

An eager act of fan service, the results represent one of his most consistent records from the past 20 years.

Bottling up teenage emotions and expressing it in effervescent electronica and wistful melodies, their self-titled debut is 16 tracks of minimalistic and clean compositions overridden with Paul Klein’s lovestruck lyrics.

If perhaps lacking something as standout as ‘Mess Around’ or ‘Ain’t No Rest For The Wicked’, it is a welcome return for the Kentucky rockers showing after nearly 20 years together they still know how to groove.

Not quite unshackling himself from the past, ‘always centered at night’ is a rewarding experience which will do much to push back unjust preconceptions.

Carnage Hall is an album that bristles with clever ideas, memorable sing-a-longs, ‘Highlight’, ‘Drinking Problems Continue’ and ‘Accordion’, whilst reminding you of all the best bits from Devo, Trust Fund, The Rezillos and why you feel in love with those bands in the first place.

Rossen redefines the boundaries of musical imagination with his long-awaited, wholly confident debut LP 'You Belong There'.

The album is at its best when DeGraw’s chaotic textures give way to more structured declarations of despair.

Recorded with Berlin-based chamber orchestra s t a r g a z e, their sound is simultaneously laid bare and enriched by its cinematic qualities.

The music has stark contrasts that work well to portray the emotions of singer Jim James.

Packing a brassy punch, the tracks still manage to twinkle elegantly, rich in harmony with hymnal touches.

Dedicated to Bobby Jameson offers an enticing preview, delicately ebbing and flowing between irreverent pastiche and tender melancholy, and in the end striking a balance that makes it one of Pink's more accessible and immediately gratifying records in recent memory.

Thanks to Black Milk’s production this is their most accomplished album since 1995's ‘Temple Of Boom’.

Concepts (‘Little Sis’, schmaltz aside, laments a distanced sibling), and grime-horned hammers (‘New Banger’, ‘3 Wheel Ups’ with Wiley and Giggs), put familiarly uneven album flow in a nutshell.

Overall No Shape sees a new exciting chapter for Perfume Genius, one that’s happy to fully throw off the image of the tortured artist for brighter, bolder entity. The future looks a little brighter.

At times spread too thin across its 17 strong tracklisting. ... ‘Trip At Knight’ serves to finesse his sound and approach, allowing room for Trippie Redd to attempt new projects within his digi-focussed framework – it’s a chapter so many of his contemporaries have been cruelly denied.

In marked contrast to a rich oeuvre combining stylistic fluidity with countless collaborations, it is often the most ascetic moments of introspection such as ‘When We Die’, ‘Past Mistake’, ‘Analyze Me’, ‘Makes Me Wanna Die’, and ‘Poems’ that are engraved on our memory, the stripped down productions displaying his sixth sense for the rhythm and emotional tone.

To the uninitiated, this kind of '70s-inspired thrum-rock might sound a bit AOR, but given time it reveals its nuances, placing Vile somewhere between a rougher-edged M. Ward and a bluesy Ariel Pink.