While not overly original, this album more than compensates for compositional complacency with its energetic delivery.

HOLY FVCK serves as brilliant proof of Lovato’s hard rock capabilities. Lovato suits hard rock, those vocals absolutely gorgeous when paired with a sturdy burst of heavy soundscapes. While Lovato can knock out a summer-ready banger, it’s equally as thrilling to see them lurking in the shadows.

I Don’t Run advances Hinds’ endearing charm and esprit de corps, which in turn makes this another totally enjoyable listen.

There is a definite whiny, punky recklessness to Any Port In A Storm, a feeling of intentional roughness and rawness mixed with genuine musical chops and strained emotional frankness.

This might not be as an essential album, but it’s one that definitely requires your respect and an hour of your life.

Although weaker tracks are covered up by pristine studio trickery, No Blues is consistently infectious and edges the band closer to mainstream territory.

Playful yet packed with feeling, ‘For Free’ suggests that this is one music legend whose story is far from complete.

It is an intriguing new chapter in the Villagers story that will reward listeners who spend some real time unwrapping it properly.

With both music and curation straying into increasingly beguiling territories The Lost Tapes is as delightful as it is overwhelming.

An artist who scarcely slows, Andy Bell offers a fine blend of psych-pop, folk finger-picking, and home made electronics, all within the familiar confines of his shoegaze day job. More, please.

More tightly structured and confident than 2011’s ‘Crazy Clown Time in terms of narrative, there’s further clarity in the unmistakable voice, which though heavily filtered feels much closer to his own.

The result is utterly stunning.

While it has fewer standout moments than Squeeze and self-titled debut SASAMI, there are still moments of beauty.

BBF Hosted By DJ Escrow may be the most sarcastic record Blunt has put out, but there's real emotion here amidst the baby cries and union jack hover boards.

Call The Comet doesn’t quite reach the heights it sets out to, as the execution on some tracks falls flat despite some interesting ideas. That being said, there are enough moments throughout the record to remind you that the Marr magic is alive and well.

Half of contains all the crackling, happy-sad flavour of Gold Panda’s past discography, but with harsher textures than before--it’s disorientating and inquisitive, physically uprooting you from your comfort zone.

There is some measure of repetition throughout the album, with that constant beat keeping you on the move. But Twin Atlantic have produced an album of unashamed anthems and it doesn’t disappoint.

Occasionally it feels like it veers too suddenly from braggadocio to piety, and it’s questionable whether Stormzy has a sufficiently versatile delivery (he’s no Durrty Goodz) to support this. But by casting his net so wide, the MC is unlikely to disappoint his diverse audience.

If this is the last we hear from Woman’s Hour then it underlines their formidable creativity; a moving, touching return, Ephyra is the sound of re-constructed glories.

Musically scattergun, with vintage rock ‘n’ roll rubbing shoulders with post-rock sounds, there’s much to admire about this bold artistic statement.

Rationale is a project which highlights Fazakerley’s vocal and songwriting dexterity, and is delivered with an impressive style and confidence.

A quirky best-of entertaining the inner child with tongue-in-cheek lyrics and psychedelic funky pop.

Clark's biggest triumph is in managing to splice his previous influences together in a cohesive and pleasing manner.

This a confident and beautifully made record and props for a band evolving their sound as any group with real longevity tends to do. There’s not quite the cohesive drama of their first effort but there’s plenty of gems to be found here.

Although littered with incandescent beams of hyper-melody--extending a hand to the youth of 2013’s ‘Days Are Gone’, Something To Tell You is patient and moves at its own, night-unending pace, where Californian sister act Este, Danielle, and Alana surf some kind of strange paradise between love and loss.

The 29-year-old’s skilful complexity as a musician and producer has undoubtedly progressed along with his self-development.

Many may still see Vynehall as a specialist in euphoric house, but this album has a richness and depth that transcends the dancefloor.

A solid debut, then, and one most likely coming to a festival stage near you this summer. Buckle up and be satisfied.