A gorgeous, triumphant return.

The songs are slow moving wonders that gather emotional steam with each passing moment. The pay off to this is an album full of unflinching narratives, and thoughts, that, if you let them, have the power to stop you in your tracks. ‘Night CRIÚ‘ is an album to get lost in with this night crew.

Representing the sum of all the label's split personalities--including the rousing microhouse of closer 'Good Times'--it should be listened to more as a celebratory catalogue than a seamless concept LP; a worthy precursor to next year's 'Twenty Years Of...'

‘Honey’ pivots between lyrical complexity and spartan, but endlessly pretty arrangements.

‘The BPM’ is Sudan Archives’ bravest album to date. Lyrically, she effortlessly sings about love, loss, redemption, mental health issues and, err, 1980s computer games. It’s refreshing to hear someone this comfortable in their own skin unburden themselves like this.

Songs on ‘Reflection’ transcend the boundaries of radio-ready pop music, are a reflection (no pun intended) of the larger shift of pop music to something entirely digital in every sense, a shift that seems to mirror that of the music industry in the past decade.

This collection’s predecessor, 2013’s ‘True Romance’, showcased an artist willing to take on the pop world. Sucker finds that same, singular performer rewriting the rules entirely, never mind breaking any, and beating pop at its own game.

A record that fits neatly in to the Maxïmo Park canon, while seeking to distance itself from it subtly.

It's an album in the true sense, each song a building block on an overall journey.

This is a pop album with built-in replay value, a work of real depth.

Again, like their previous work, 'Champ' is a short and sweet affair - but not one to miss or forget.

One for the long drive ahead as you watch the white lines get consumed by the night.

If you could see sounds as colours, a la synathaesia, this entire album would be a kaleidoscope of audio-visual, acid-trip imagery.

It’s another marvellous addition to the Father John Misty catalogue, delivered from a songwriter that surely now deserves to be recognised as one of, if not the greatest, of this decade.

A must-listen for those who like their metal with depth and mystery.

This may not quite be the best punk rock album about the Trump era you’ll hear in 2018--fellow 50somethings Superchunk already had a decent crack at that title--but it’s certainly one of the year’s most enjoyable bundles of rage. A thoroughly welcome return.

His words are stirring without ever being hyper-specific, and can apply to any trying situation that he or the listener has experienced. There is a connection with him through his delivery, which maintains the modesty and gratitude of a person just genuinely trying to figure his way through life.

Fitzpatrick latterly allows breathing space by lessening the intensity to a measly 85% or so; the beats keep rolling to a ubiquitous clatter of hi-hats until you’re flintstoning your dancing shoes and moving Zombie-like to the less than subliminal command of Session Restore’s ‘Speak Out’.

As natural and inviting as the curling of the leaves, ‘Shore’ is Fleet Foxes at their best. A voice of comfort for an atmomised generation, this is less album, and more treasure trove.

Bey channels the destabilising loss of her father and its attendant grief into something transcendent yet eminently relatable. ‘Ten Fold’, like the best journeying album, takes you along for the ride whilst serenading your anguish.

TERRY are over the hype and romance of being a new band and their music is richer for it, veering off in all directions.

A pleasing work of subtle evolution that taps into the group’s core values while teasing out fresh ideas.

All of these stylistic inspirations make AM an invigorating experience.

A pothead's dream and a supremely-crafted set.

These charmingly often positive tales are inspiring, yet it’s the combined nature which the producing delivers that makes this album shine.

It’s a record about growing up, and playing it straight; a more open, rounded experience than we’ve come to expect from St. Vincent, it’s a brave, fascinating record.

Carefully structured, ‘MAN MADE’ is able to caress the spartan sonics of ‘Away We Go’, for example, before plunging into the revelatory rock guitar of ‘Sinner’. In bringing such diversity together, the central creator is able to span opposites, and build bridges that perfectly amplify her touching lyricism.

Itasca’s ‘Imitation Of War’ is a wonderful record, one whose spell only reveals itself over countless enraptured listens.