In the wrong hands this kind of indie pop could become trainspotter-ish, or an exercise in technical skills and box-ticking – as it is, ‘Holo Boy’ is a wonderfully enjoyable cycle of straight-down-the-line songwriting.

The album is a bold, idiosyncratic collection of songs crafted under intense time pressure after producer John Congleton insisted that Grant have all of the material ready to go before entering the studio. Such a challenge certainly seems to have focused the mind.

Here everything seems whole and fully realised, the sound of a fleshed out band sure in its own identity rather than the end result of a prolonged mixtape crush.

Devastating, but utterly beautiful.

They're offering something new with 'MUNA' - evolving, inspiring, and taking us along for the [horse] ride.

A beguilingly atmospheric record, this new album from Red River Dialect seems to be in perpetual transition, coming close to but never quite achieving that sense of return.

Worth the wait for fans. The record balances its psychedelia with more mediative moments offering plenty of variety. This record again shows Auerbach’s musical influences and projects beyond The Black Keys.

At just half an hour long, the record skips by in just enough time to take to the dancefloor, take a breath out the side door, and make it back to sweat your stuff to your favourite song.

It's classic Americana rock at its best, combining musical echoes of Springsteen and Dylan but crafted with a poet's eye for detail. Dreamy, infectious, and full of hope. A powerful antidote to all those who say the best days of American classic rock are well over.

The Dreaming Room is an enormously frustrating record, as Mvula clearly has it in her to be an incredible artist. But at this point in her career, she remains a orchestra in need of a conductor.

His most well-rounded, diverse, and unrelenting body of work to date.

Each track feels like its own ecosystem, tackling its own demons and fighting with its own musical journey. It’s certainly an album created with plenty of thought and various concepts tackled within its 40-odd minutes, leaving a sweet aftertaste, and the urge for an immediate re-listen.

There is so much to unpack in one listen with some many beautiful intricacies to get lost in. With each part of the album bringing something unique.

On each listen Love What Survives is a record full of raw honesty, both musically and artistically, and is worth your undivided attention.

‘Short n’ Sweet’ as a whole is a little less addictive than its lead single, and a little less sensitive than its predecessor, but it’s a solid entry into the Sabrina canon, with plenty of potential to sneak up on you with a gut-punch should you ever find yourself relating to it.

Adore Life sacrifices intensity for heart and with some exploration into the use of space and silence, it could be their perfect album. After all, absence makes the heart grow fonder.

Where three years of agonised, vice-grip creation and destruction preceded Grizzly Bear’s 2012’s multi-dimensional effort ‘Shields’, the five years of space following has worked in their favour--leading to the conception of a creature that breathes confidently with a heavy sense of hyper-ambition in Painted Ruins.

The net result, a tapestry through dark alleys and along river banks, makes for an entertaining listening journey.

The album overall feels like an experiment for Aubin-Dionne, each song stands alone but it’s heard better as a whole piece. The use of calming synth melodies and diverse beats that tie together to make for a fulfilling and emotional 40 minutes of music.

‘Burden Of Proof’ pushes Benny The Butcher back to the forefront, and offers further evidence that Griselda is one of the most vital labels in North American hip-hop right now.

While it may not be the East Atlanta rapper’s best, it still stands as a solid successor to ‘EA Monster’.

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

This album is a step in the right direction in terms of mood, but it’s an overstep in terms of the emotional burden Brown is offering. The choruses are repetitive and don’t fit, and the take away should be focusing more on balance. However, it’s not a question of if he can get that balance right, but when.

As a collection, Father of the Bride holds together remarkably well. This is not some grand tome where these indie vets try and break new sonic territory every track for better or worse. Here we see a bunch of thirty-somethings letting go of some past anxieties and leaning into newfound securities. It's a relaxed record happily borrowing from the modern American songbook, a little Fleetwood Mac here, a little Paul Simon there.

This album won’t please the fans who wanted ‘Malibu’ again because, simply put, it isn’t. But for those who are excited by an artist unafraid to reinvent and experiment, then look no further.

Ambitious, emotive, and completely open, it’s a gorgeous song cycle, drenched in jazz-leaning arrangements.

The oscillation between moods is deafening, but effortless as Scott’s come-ons and teardowns are a poetic masterclass.

Overgrown remains closer knit, and paradoxically less fragmented than its illustrious predecessor, ideas rotating core values guided by an affirmatively unseen hand. Which ultimately makes this an even better record.