Despite the dark aesthetic of ‘Reborn’, the album shines bright with promise for the futuristic vista of Kavinsky.

Despite the more upbeat sound to 'Bite Mark' TRAAMS ensure they still pack enough punch to really sink their teeth into their slightly frenzied and disheveled (but completely hooked) listeners.

Succinct yet packed with information, ‘Now Would Be A Good Time’ finds three musicians who are bold enough to let the pieces fall where they may. Folk Bitch Trio refuse to over-think the arrangements, and this lends their music an understated intensity.

An endlessly engrossing record.

A vital, thrilling affair, it ranks amongst the best of his solo work.

Snotty, minimal, sparky; so much more than worth the wait. [Jun 2024, p.81]

These are gloriously creative songs.

The result defies expectations in the best possible way.

There’s a lot to like about this summer soundtrack packed to the left of your luggage.

The biting nostalgia of middle age runs throughout the lyrics and the band’s desire to produce something akin to ‘Automatic For The People’ is largely fulfilled.

This is a record that showcases Tyler, the Creator’s continued refusal to be caged in by any set sound or genre, with references to his earlier style alongside tracks that sound completely new. Defying expectations, Tyler, the Creator continues to rise.

These 10 tracks comprise a head-and-shoulders-above collection that immediately imprints itself as one of the best hip-hop records of 2013 so far.

The end product is another outstanding record, executed with fearlessness and grace.

As Herbie Hancock so rightly put it, “jazz is about being in the moment” and jazz weaves through Nubya Garcia’s ‘Odyssey’. So, press play and sit back – close your eyes and soak it in.

Sleigh Bells' novelty though, lies in a tingling barrage of granular guitar distortion and overdriven, over-compressed girl-pop squall.

The strengths of My Name Is My Name vastly outweigh its minor faults, and Pusha’s studio debut finds itself easily nestled into the year’s top five rap releases.

Don't be surprised if Ghostpoet is on Mercury minds once more with this excellent effort.

This mini album sees Wire once again looking askance at modernity via cryptic cynicism, bassist Graham Lewis's obtuse lyrics reaching new levels of vexatious impenetrability.

A bold work of evolution, ‘EVERYBODY CAN’T GO’ utilises some fantastic production – notably from Hit-Boy – to piece together a seamless record, one that hauls his sound forwards into a fresh era.

Slender and carefully defined, it’s the work of someone unafraid to take chances – it’s good to have him back.

Le Bon’s finest moments bypass rational analysis in favour of radiant gestures. We should welcome them during these colder days.

Concise and packed with intention, SLAYYYYTER’s new album is forceful and focussed.

This is music that stretches from the decaying rain-lashed estates of their home to the stars.

A record that focuses on fleeting glimpses, on liminal evenings and burgeoning mornings, it’s imbued with sublime melodic flair and a lingering atmosphere that echoes after the final note has been plucked gracefully from Bibio’s well-served guitar.

It’s a record stacked with an adeptness of touch from a production standpoint, a modern tapestry that weaves in and out of genres defined by black artists of past.

With the success of his previous albums, Apollo could have easily stayed in the mainstream bedroom-pop genre, but the vulnerability and experimentation displayed on this album makes for an impressive, mature step forward in his career.

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 final result is a debut album brimming with confidence, confidence not only in Lipa’s own voice and her eye for a chorus, but in the emotive quality of her lyrics.