Tribal chanting and desert parties meet drum machines and electrifying guitar riffs in an album that is consistently inventive, mesmerising and incredibly danceable.

Chugging and thunderous, Stefanski’s debut set as Raffertie is self-assured: an expertly stitched quilt of textures.

some of Doherty’s lyrics are very... peculiar.... But even the weird lyrics merely add charm to this impressive return.

Locating solace in his craft, Gunna pushes himself to the limit on an album that somehow finds focus amid the chaos

Love is where the album falls short of delivering--containing most of the pre-release singles and the mainstream Clean Bandit collaboration ‘Baby’--there are few moments where it feels like the signature Marina. ... The Fear half of the album is riddled with concern and confusion about life itself and the darker emotions that come with it. Opener ‘Believe In Love’ sits near the top of Marina’s most captivating songs.

A sobering state of the world address spoken with street eloquence and education, W.A.R. resumes Pharoahe's talismanic dictation above a packed battalion of guests as a failsafe spectacle.

Much like Philadelphia’s Hop Along the group have managed to infuse occasional explosions of guitar with an emotive heart too often missing from the scene. It’s big, it’s clever, it’s Big Thief.

This, their second has already topped the charts over in the US. Why? Well, it's exuberant, bratty and crushingly relentless.er been so fun.

Overall there is a distinct retro vibe to City Club. Most of the tracks possess a nostalgic groove which wouldn’t render them out of place in an episode of the enigmatic Twin Peaks

Sleigh Bells must be applauded for their experimentation on Jessica Rabbit, and it has provided riches, but as with earlier releases, the main weakness is a lack of emotional scope and pace over a course of an entire album.

Haim neither flinch nor blush in their directness and neither should you in enjoying Days Are Gone for what it is: unabashed fun.

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.