Impressively it's under a year after they signed to Heavenly and they've already released this very honest, charming slice of garage-pop

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 solo records go, Mayberry’s first is fun and often touching, but like many before, it is trying to find its identity.

Although the album is an exercise in euphoric clubland dreaming, tracks Closer and Everything Is Beautiful remind us there is perhaps a more sincere side to Kylie that is often overlooked.

Overall, Head Above Water is a collection of eclectic tracks and done well this could make for an element of surprise that keeps your ears perked in anticipation. Here, however, it makes for sonic inconsistencies that leaves you dissatisfied, wanting the bigger and better things that Avril is definitely capable of.

While there is nothing here as magically refined as 'Made-Up Love Song #43', and Dangerfield's lyrics sometimes veer into fromage-land, Walk The River represents a must-have for those with pop tastes.

There are a few moments that feel oddly dated or too by-the-numbers, but otherwise, this is an engaging return from the gothic dance-rock four-piece.

However you approach it, Take It, It’s Yours is an enjoyable, quietly seductive collection.

It's unfathomably exciting stuff.

Caro’s debut album certainly shines bright and is beautifully off-putting in everything it tries, from its lyrics to its musicality. The effects on you, however, will depend on your ability to be challenged by the music you listen to.

This eclecticism of emotion expressed instrumentally and lyrically is indicative of a matured songwriting style, and absorbs the listener at every turn.

The album is a sun-kissed trip with layered overdubs, shimmering guitar inter-play and a sense of wanderlust, a warm departure from the celebrated lo-fi debut LP.

As a whole, Breaks & Bone is a little samey, but as a showcase of one of Glasgow’s finest musicians, it’s a gem.

‘Rabbit Rabbit’ is a joyful listen. Its refusal to follow the norms is an inspiration, and an attempt at an act of defiance in an age when it is becoming harder and harder to go against the grain.

Sometimes, maybe, it sounds like they are trying just a little bit too hard. There’s a certain self-consciousness pervading the record. .... Having said that, Young Knives are confident enough in their own skin to know that just because a musical element may not be “needed”, we would all be much emptier without it.

Throughout the record there's the vague notion that Funk is taking a swipe at the synth fetishism that's made modular systems achingly hip again in recent years. Traditional in essence it may well be, but it's done with arched eyebrows and a knowing smirk.

For TNP converts this will no doubt be regarded as a masterpiece. But for the casual listener, it’s simply another solid 21st century ambient record to help while away the late hours.

There is an urgency heard in each song that completes ‘WE WERE JUST HERE’, as if to grasp at a fleeting emotion before it fades away.

The result isn’t always beautiful, but it’s rarely dishonest.

Opening your debut LP with its three least engaging tracks is a bold move that almost capsizes the whole project. ... Fortunately, bar a scattering of clunky lines (“I don’t want to die / That’s a lie”), the rest of ‘the record’ manages to successfully scale the vertiginous heights set by the eight solo albums preceding it.

This occasionally uneven, frequently thrilling, plunge into the past proves that sometimes the only way we can go forwards is by looking back.

Despite its originality and powerful execution of atonal techniques, it is too tonally diverse to function properly as a separate entity from its corresponding film. Do yourself a favour and go listen to it in the cinema.

For the most part Know-It-All is a debut that allows the unfiltered voice of a refreshingly real, young star-in-the-making to shine through.

While it's lovely to have them back, this album is more of a pleasant addition to the Mercury Rev catalogue than a defining moment.

What ‘Kehlani’s’ self-titled moment lacks in risk or originality, it makes up for in songs that explore the fullness of female/non-binary sexuality.

Is this new release going to blow any minds? Doubtful. Yet 'Shiny and Oh So Bright, Vol 1.' sees these alternative figureheads finding their chemistry once more, whilst opening an intriguing new chapter. They've managed to beat the haters this time, let's just hope things remain cool in the SP camp.

The “highs” are as potent and heady as ever but ultimately, they’re ephemeral.

Longwave is a gently simple record but one which manages to exert an almost hypnotic pull.