A gentle and mellifluous set of songs.

Pale Blue Eyes have clearly worked their socks off, and to produce something that carries integrity in putting to music the nature of reminiscence, all the while working tirelessly to fund it, is commendable. ‘Souvenirs’ is a visceral release of material that bookends the band’s formative chapter, and ushers in the next.

Not terribly experimental then, nor especially genre-hopping, but let's not be sniffy; it's a very likeable cosmic pop record.

A fine piece of work from a criminally-underrated talent.

While it's undoubtedly a solid addition to Sean's catalogue, at the end of I Decided. it's the flows and instrumentals that are left with the listener, having upstaged what Sean is actually trying to say.

‘Electrowavebaby’ is fun but doesn’t seem to add to his sound, while ‘Mr Coola’ feels a little dated. At its best, though, ‘Insano’ can be riveting.

Whilst the Spacebomb country-psych-soul style was an unexpected move away from the pop- infused sounds that lingered in ‘Sweet Disarray’ and ‘Emerging Adulthood’, and not all fans will be best pleased by such a sound progression, the heartfelt and at times pitiful lyrics of his ‘Grand Plan’ is a humbling nod at the inevitability of growing up and branching out.

Fans looking for a haphazard exercise in DIY should revisit the band's earlier effort, but will nonetheless be greatly rewarded by this deftly crafted slacker opus.

Of the two acts, Costello’s pinch of dry spice makes this set more his vehicle to champion, but both show a mutual, practical affinity.

An album free from the shackles of a major label and its consequential rampant commercialism was always going to produce something that didn’t immediately pander to its keg fuelled audience. The surprise is just how well deadmau5 pulls it off.

CULTURE may be limited in its scope, but it delivers in spades everything one might have hoped for from “the Beatles of this generation.”

It might be a lot more po-faced than the insouciant antics of the recent Venetian Snares album (‘Traditional Synthesizer Music’) but it's certainly no less engaging.

Never deviating from course, Sugar At The Gate adds one more stitch to the tightly-wrapped DNA that makes TOPS so immersive and enjoyable, its ten glossy songs bearing all the marks of a band that has taken yet another step toward mastering their craft.

Home walks the fine line between commercial viability and musical integrity with confidence and flair.

For all the PJ Harvey comparisons Calvi will inevitably attract this record is more alternative cabaret than gothic melodrama -- and much better for it.

With a more complex sonic palette than his debut, Mark The Hard Earth contains a number of absolute gems.

IV marks a refinement of the BADBADNOTGOOD sound and as ever is filled to the brim with gorgeous melodies and impressive digressions.

Although SCUM can sometimes feel like the 2017 update of music you’ve enjoyed from the past 20 years, at its best Rat Boy delivers some of the most interesting and exciting moments to come from British music this year.

This is thoughtful music for thoughtful listeners, and it is all the more rewarding for it.

BODEGA’s mantra is “the best critique is self critique” and it is a message that is well conveyed throughout this album.

A project as mystifying at it is engaging.

The record is unmistakably Jónsi, especially with his ‘Hopelandic’ language making several appearances. ‘Shiver’ provides an enjoyable glimpse into Jónsi’s direction, but struggles to balance the tonal dichotomies of abrasive electronic freak-outs and blissful melancholia central to the album’s appeal.

With a hefty 17-track structure, ‘Sugar Honey Iced Tea’ is held together by its towering moments.

While it doesn’t reinvent the wheel, ‘Louder, Please’ is a wholly enjoyable record that captures the spirit of the dance floor with unflinching authenticity.

‘Girls – The 2nd Mini Album’ demonstrates an advancement of aespa as artists. It has solidified the group’s creative intentions whilst also illustrating their ability at owning other concepts.

There is so much to unpack here across a myriad of styles from jazz to folk and blues but it all seems to fit the subject at its heart, Dennis Hopper. It may not all work but when it does it is mesmerising.

Rather than escalating, it holds its ground, making it one of Sleaford Mods’ most coherent and controlled releases to date.

Tracks like the Bonobo-esque ‘Green’ are properly lovely, and wholly capture an air of sun-setting, downtempo chill that you’d have to be stony hearted not to enjoy spending time in. If there’s a downside, it’s that a couple of tracks sack off the sense of seductive, textured chill in favour of some prosaic ideas and unfortunate reference points.