The understated nature of the score makes it doubtful this will bag many awards or turn many heads but, never mind: grab some headphones and enjoy the ride.

The bottom line: if you're looking for an intelligent summer record then hit download immediately.

For a band consisting of four members, Born Under Saturn is both remarkably adventurous and eclectic.

As much as this collection of instruments can so often deliver the hair-raising tricks we expect, these pieces feel more resonant, more entrenched. The surface level thrills are there, but the impact lingers.

Fading Love feels like a transitional phase in the producer's journey, an accomplished springboard to launch a more definitive statement of intent next time round.

It would be wrong to say that this is an enjoyable album, but it is rewarding in its own way.

The album's weakest points come in the shape of some unnecessary interludes that only act as murky limbos between its better parts.... Other than that, Hiatus Kaiyote have put together a project that is both vibrant and uninhibited in its nature.

The band's fondness for over-long outros means that it occasionally drifts, where a tighter edit would have made it soar. But for the most part this is an entrancing album of spectral lullabies.

Producer MJ (of Hookworms fame) and the band intended to strip things back and become more economical with their sound. While they certainly have achieved this, in this instance it has arguably starved the songs and disallowed them the space to breathe.

Far from a departure, it's more the continuation of a recurring theme--but one that isn't half bad at all.

The music has stark contrasts that work well to portray the emotions of singer Jim James.

If anything, the album is held back by his ambition--imprudent testing falls short of his usual standards. There are lessons to be learned here, and as a document of Tyler's growth, this may well be looked back upon as a watershed moment.

The Past, The Present, The Future has rebooted more of the bad tropes from that era than the good.

Darling Arithmetic finds O'Brien continuing to fashion his sound in this cherished manner, the tales he spawns both introspective and impressive.

Mad and all-consuming, this is music for disillusioned youth with enough wry wordplay to back it up. In all its angst and menace, you can't help but feel liberated.

A notable and accessible triumph.

Not Real proves a fun set--but whilst you can't help but admire Stealing Sheep for evolving their sound, with a few track tweaks it could have been an evolution which went so much further.

Shorn of expectation and match fit in the middle of a long tour, four friends found each other again.

It's a microcosm for the muddled thinking that holds Ludaversal back.

It's almost a back to basics approach.

With Polar Bear being fully paid-up jazzers, there's more of an understanding and utilisation of dynamics, which add to the pervading mood, yet the overall feeling is one of ennui.

A broad, diverse and enriching album, the ten tracks which make up Culture Of Volume are each distinctive but seamlessly connect and click together to produce a piece of work that will both delight and enthral.

Kintsugi hits hard due to its lightness, its bitter heart shrouded in soft arpeggios and catchy riffs.

It's clearer now than ever that Earl Sweatshirt doesn't care for your expectations, and that he's at his brilliant best when refusing to cater to them.

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

The Scene Between is a happy remedy to a cynical industry and scary, un-groovy world. One listen and you'll be transported back to your teens--when some sunshine and a little dance would cure all.

It's an optimistic, romantic and frequently lovely record.

This is an album of genuine intent, full of poignant reflections on romance, hope, fear, the past, the present, and the future. It’s got heart. And that’s enough for starters.