Big layers of instruments dual with and complement each other via weird time signatures, and inspired, complex riffs that sound like they’re scoring a car chase from a cult Seventies film, mixed with bursts of electronic futurism--perhaps best displayed on the album’s title track--a manic, brilliant piece of instrumental songwriting that shows Jaga Jazzist to be at the top of their game.

Another ambitious statement from a band that has made a habit of reinventing themselves at every stage, while still, somehow, sounding uniquely like Liars.

Easy on the ear yet hard on the heart, Aidan Knight has delivered something very fine indeed.

Billie Marten delivers a pragmatic album that explores the equilibrium between her positive and negative outlooks on life, whilst confirming that being preoccupied with our own contemplation is and will forever be an ongoing process of the human condition.

All in, Unfurl seems a pretty apt name for the album. It’s many layers unfold and wrap themselves around you, like a warm blanket after an invigorating surf.

It’s undeniably interesting, but here’s hoping the clever USP doesn’t lessen the record’s staying power.

‘Idlewild’ is undoubtedly the strongest album of their second arc, a release that in any just world would gain plaudits and laurels at every turn.

The sugar coated melodies and lush production give ‘Finally Over It’ a frictionless feel this time round, but Walker’s aching monologues keep things grounded in reality.

With such grand ambitions achieved, great music produced, and a five year journey concluded and justified, Morricone would be proud: Rome was well worth the wait.

Diamandis is using her music to discover who she really is. That said, by the end of Froot, we're still none the wiser.

There are enough moments of musical eclecticism here to suggest that Built On Glass is his solid starting point, rather than a definitive statement.

Often melodically startling, the work contained therein feels close to definitive – if you’ve ever thought to explore their work, but not had the chance, this is the perfect entry point.

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.

The trio’s self-titled debut album sounds like the first airing of lost classic rock record, with a tonality redolent of tube amps and smoky studios. ... A bold and surprising statement of purpose and intent.

We get a less focused effort, with peaks and troughs in its quality. Yet the best tracks off the album are better than any of the band’s previous work. It’s just a shame that the weaker songs fall below the standard The 1975 set for themselves.

Cloud Control's debut is making an early play for the feel-good record of 2011. There are more hooks in Bliss Control's thirty-nine minutes than in Captain Birdseye's entire fleet.

In the end, LP 2 is the sound of a band taking everything that’s worked so far and refining it with style, taste and precision.

With titles like ‘Carpathian Darkness’ and ‘Weeping Ghost,’ this latest set is a must-listen for both fans of ‘The Fog’ and those who love their instrumental music dripping with malice and danger.

Sadly, co-producer Rick Rubin’s minimalist philosophy stifles many of the tracks. ... When the album does decide to break free, however, the results are stunning.

This is her strongest set of songs since 2000's 'Faith And Courage'.

Whilst it could be easy to turn up your nose to the fact the instrumentals may be relatively straightforward, the magic of The So So Glos truly lies in their witty lyricism.

It’s a bit less frenetic than previous material, but across ten songs Thomas leaves his unmistakeable sonic signature with auteur-like precision.

The result of her personal awakening is an album that is cathartic, tender and heartbreaking in equal measure.

The band’s blend of baroque and alternative rock, sounds immense live and this show has rightly been selected as a testament to that. This is also a perfect bridge to whenever the group release their next material and with 21 tracks is somewhat of an early Christmas present for the band’s legion of fans.

The end result is something that feels both familiar and oddly generic, a set of Lucy Dacus covers performed by Lucy Dacus herself that somehow still leaves out the most vital elements.

Romance Is Boring is another step up for the Cardiff seven-piece; avoiding the shoutier, brattier elements of debut ‘Hold On Now, Youngster...’, the band bring to their latest effort a much darker atmosphere, with similarly desperate lyrics.

Go To School is a highly ambitious album and some may be wary of the concept, however, if you unpack it, there’s a touching tale within that can resonate with all.

Across its 14 tracks, Fingers, Bank Pads & Shoe Prints twitches with endless inventiveness and energy, finding Boo tinkering with vocal snatches as frequently as he skews the beats into ever-more queasily unusual formations, drawing from soul, soundtracks and classic dance music along the way.