‘Oh No’ is the strongest album since 2012’s ‘Always’. This definitely is beautiful music for hard times.

Stripped back and unapologetic, Florence Welch’s fourth record as Florence + the Machine carries a sense of nakedness never seen before--it’s self-aware, remorseless, and raw.

This record isn't really comparable to any of Monkeytown's output, but it still stands up alongside it--and not just as a novelty.

It's got piles of ideas, some biting M.I.A.-style hooks, and all the grimy vibrancy of a night out in Soweto.

It's a gorgeous example of an album bursting with huge, dreamy songs.

It's not always pleasant, but in a funny way, it's quite compelling.

House music’s fire will never go out. And this pack of rhythmic aces can only help fan its hypnotic flames.

This is an auspicious start, but it too often seems that Samaris lack the inherent ability to fully realise their ambitions.

In The Seams is the most intricately beautiful auditory to coexist with. Just let it in.

It might be a lot more po-faced than the insouciant antics of the recent Venetian Snares album (‘Traditional Synthesizer Music’) but it's certainly no less engaging.

The frustration bubbles under the surface for the listener, that, competent and effecting as this album is, it could have been so much more. Here’s to next time.

This [‘I am William Corder’], the pinnacle of a truly masterful, sonic annihilation of a record, is a murder ballad not in the melodramatic gothic tradition, but something else, something transcendent, and like the rest of the record something terrifyingly transfixing.

Despite the two opposing moods of the album, the candid and dark lyricism is the only consistent effort in the album. It’s a massive shame, considering how much headway the band made with ‘Asymmetry’, but Mallory Knox have found themselves half a step behind their peers once again.

This album deserves your attention and is a perfect example of a group accomplishing and exceeding their full potential.

Dissolve is a fine album for the time being, but it has a built-in sell by date and TUSKS may well want to diversify before the tide changes and she's left gasping on the shore.

Instantly familiar while still feeling fresh; nostalgic while clearly the product of a band who’ve carved a niche rather than rest on their laurels, Is This Thing Cursed? is the album long-term fans have been clamouring for since Skiba shaved his hair.

'Limbo' is certainly not a representation of his best work, but rather an example of a talented artist not pushing his boundaries.

A singular experience, ‘Island Family’ is unsettling at first, until the listener begins to relax into the world Pictish Trail has prepared. An attempt to discuss familiar experiences in an unfamiliar way, it’s a rewarding, groundbreaking insight into his life, one that retains a playfully experimental edge in the process.

Unfortunately, HAAi’s music here tends to be a bit stiffer, forgoing the benefits of a heady groove in favor of direct impact. If you’re up for it, it might well help you ascend, but it often feels like a forced way to go about it.

‘Driving Just to Drive’ drives safely. Perhaps too safely. We may yearn for Maltese to put his foot down, but it could be argued there is solace in safety. Not everything has to be hell for leather.

‘Snake Sideways’ is a culmination of all of Do Nothing’s talents, and a great debut album which is perfect for the live setting – where the band thrives.

86TVs are a band whose debut album is the sums of its parts; whose formidable past endeavours including The Maccabees have helped cultivate a distinctive sound today which promises to deliver more in their bright future ahead.

To be clear this is far from a melancholy album, in fact it is more melodic than their EPs, but still retains the very essence of Humour, with their vividly unique view of the human condition.

While there are moments where the concept of ‘Parasites and Butterflies’ is stronger than its execution, this is still a stellar outing for Nova Twins, once more establishing themselves as a vital and thrilling voice in the rock scene.

An assured work framed engrossing ideas.

On ‘Irreversible,’ Brigitte Calls Me Baby has emerged with a maturity that encapsulates the timelessness they have been honing all along.

It’s a plaintive, poetic, and endlessly endearing return, a sign that the acoustic well, while previously untapped, remains brimming with inspiration.

Tales Of Us is relentlessly one note but frequently beautiful, and a welcome change from the theatrics of its immediate predecessor, 2010’s ‘Head First’.