The lyricism is what makes the album escalate from good to great.

Guaranteed to make you cry sugar-coated tears or vomit Care Bears depending on your tastes.

Cinematic in its scope, the album runs like a screenplay with character developments, recurring themes, tragedy and, finally, resolve.

A more than worthy gesture from a distinctive, engrossing voice.

It would be hard to find an album to compete with theirs in regards of modernism or creativeness.

The whole album somewhat lacks the same energy, punch and pure magic that The Black Keys have.

Swift’s vocals are triumphant, soaring, wild throughout--she is a fantastic singer, and 1989 does showcase her ability to attack a track of any style and claim it as her own, even if the ultimate results feel like a compromise had to be found to make the final cut.

Carrier isn't necessarily a victory for versatility or enigma variations, more the sound of Sully helping himself to bass culture's wide open buffet.

Overall this is an album to be enjoyed in its entirety and proves a much more rewarding when doing so. Grab a comfy chair, wait for dusk and lose yourself. You won't regret it.

The album has immense scale, wonderfully indulgent soundscapes and limitless sing-alongs.

The end result is a rewardingly eclectic mix, if not slightly discombobulating.

A succinct, focussed return, ‘Phantom Birds’ makes a neat soundtrack to the final days of the English summer.

On ‘Songbook’ The Lazy Eyes are showing off, offering the full kaleidoscope of their insane talent. It’s an invitation into a dreamy utopia of their own invention - and you’ll want to stay.

Delivering what her fans would expect, it seems as though Flo Milli has found her feet and handed over a selection of fun-filled and ultrafeminine tracks before the summer comes to an end.

An incredibly engaging and somewhat out-of-body listening experience.

An ever-shifting, yet cohesive addition to a stacked discography, this new album may surprise listeners at first – but will ultimately sit as a pivotal, guiding light in the music of Toro y Moi.

Love, heartbreak, growing up, and self-discovery are the ingredients to this emotional rollercoaster of a cocktail, and it’s simply beautiful.

Era Extrana is a collection of brooding, eddying and actually kinda loud indietronica that wears its Joy Division and New Order influences on its (mixing) sleeve and contains enough catchy melody lines to flirt with pop... and take it all the way to second base.

Starting with offbeat rhythms and minor key vocals the album is not as accessible as "Has A Good Home" and less adventurous than "He Poos Clouds"--yet there’s something that draws you into Heartland.

There’s plenty to commend it, but with such high expectations, it’s perhaps inevitable that this album could never live up to them.

Whilst your first few visits to the ‘Tranquility Base Hotel + Casino’ may feel alien and unwelcoming, you will gravitate ever closer to its shimmering outer-space treasures with each stay.

Bunny in its entirety is quintessentially disparate, a fleeting repertoire of the avant, and a keeper of both the nostalgic and the progressive. Matthew Dear is unlike the rest, as he invites us into his cathedral of sounds, and will undoubtedly ‘stick around in the house of your mind’.

As a double album, ‘V’ is a hefty commitment and is therefore unlikely to win many new fans for Unknown Mortal Orchestra, but it’s a coherent and mature piece of work which will be worth the wait for this well-established act.

Though moments fall into realms of safety, churning out easy radio-hits, we’re hoping she continues on this venture into more diverse sounds - as those more exciting, genre-fusing tracks are pretty fabulous.

There is a ‘fine line’ between plain pop music and good pop music that’s interesting to listen to. On this album, Harry Styles definitely falls into the latter category.

With its themes giving the listener the desire to actually pay attention to what being said, rather than just zoning out to the album’s ear-worming melodies, Insecure Men is no doubt one of 2018’s best debuts.

Beth’s voice might be confronting at first, but over the course of the album the frustration becomes contagious, proving that anger is not something to be frightened by.

‘Blindness’ revolutionises The Murder Capital’s sound once more and this prioritisation of urgency and energy brings an infectious listen.