Louis' new-found confidence oozes from the songs here; it may just be his first steps in the quest to emulate his old rock 'n' roll heroes.

Just Tell Me That You Want Me does suffer from the lack of coherency caused by the inclusion of so many different artists and styles but fortunately, when the subject and the songs are so good, this matters little.

Like all good records, it has its magpie moments too - the Justice / Daft Punk tinged one-two of ‘Celebrate’ and ‘Surround Sound’ especially effective in the current climate--but fundamentally Ice On The Dune is the definitive Empire Of The Sun album.

The first five tracks all clock in at under 2-and-a-half minutes and are almost all punchy, ferocious and crunchy. It’s bold and uncompromising, but often buries the singer-songwriter’s voice both literally and metaphorically in an overbearing soundscape. ... The record’s second half sees Indigo let loose, switching up her formula: songs are longer, more expansive, and it’s all the better for it.

The arrangements here are certainly accomplished, but it's still that voice which makes the whole thing glow.

They've crafted an album that's endearing and inspiring, even if its genesis was the complete contrary.

Small Mercies is not a complete success, but Pixx’s creative voice remains unique.

This posthumous self-titled release feels more commemorative than conclusive. It’s a welcome celebration; an answerphone message revisited. It’s no ‘OIL…’, but it’s pure SOPHIE.

The curiously evocative and often soaring vocal of original ‘modern woman’, Sophie Harris, there may be a slight hint of knowingly tapping into the full breadth of their creative gamut across the record, but in delivery it suggests more a case of never wanting to tie themselves – or the album as a whole – down.

A record that barely takes its foot off the gas pedal. This onslaught would make even the most hardcore listener flinch. Bring earplugs.

This is not quite Modest Mouse at their best, but they’re not a million miles away from it, either.

There’s also the disappointing ‘Sinking Kind Of Feeling’ and opener ‘Other Side’, the latter’s slow build at odds with the overall tone of the record. Still, it’s a great stride forwards with some tracks that’ll likely go down as some of the band’s best.

Tempering the unfettered experimentation of their last outing, 2022’s ‘Tableau’ (where tracks clocked in anywhere between 50 seconds and eight minutes), ‘Only You Left’ does indeed emerge as a more structured project, roughly bound by a central polarity of “wood versus metal”.

You can't help have a smile on your face when you listen to the excellent harmonious vocals of 'Sore Tummy', featuring Alice Costelloe, or the hilarious lyrics of the riff-tastic 'Pony'.

Pere Ubu's first studio recording in three years is a suitably abstruse, challenging and dense record, and yet another example of how Pere Ubu remain at the very peak of experimental avant rock.

To some Goldheart Assembly will stand as a fine example of musical romance, but others might not enjoy the beta endearment that washes over the record, and find it dry, maybe even a little dull.

There’s still a little greenness here and there – the Royal Blood-esque ‘Summer Of The Shark’ lacks a little individuality, for example – but in the position that DITZ have put themselves in, there are a lot of places for them to push the boat.

While his lyricism is filled with youthful nostalgia, his sound here is more mature than ever. Introducing an auto harp, his soundscapes are filled with a toned-down joie de vivre which makes the album stand out with its lucid simplicity.

The record’s most straightforward track, the Doja-Cat-esque ‘On The Low’, which highlights how modern hyperpop-trap is, at its best, Rico Nasty-indebted; or the artsy punk of ‘Crash’, which feels like a sibling to present-day 070 Shake alt-pop. ‘LETHAL’, firmly reasserting the Rico Nasty legacy, is an alluring feat for the US rapper that feels just as trendy as it is against the grain.

Complex, and replete with glitches, slow beats and breakdowns, In A Dim Light is as captivating as 'Condors', yet with an evident sense of renewed direction and focused calm and quietude.

A typically playful, often infectious pop record.

This is as tropical and kaleidoscopic as Friendly Fires have ever been. It’s akin to gobbling an entire pack of Fruit Pastilles; colourful, maybe a little sickly, but you sure as hell want to experience it again.

While ‘Reflection Of Youth’ delved into intimate soul searching and destructive introspection, ‘Speak’ casts a macroscopic lens on the human experience, delicately documenting Anna’s rising confidence and newfound acceptance in her sense of self.

For some, the poise and polish of ‘Quicksand Heart’ may be cause for slight lament - the unabashed weirdness of Let’s Eat Grandma was central to their offbeat charm, after all. But as an exercise in self-actualisation, Jenny On Holiday’s solo debut is indeed a revitalising break.

It’s more confident, a little sexier. It also finds the outfit playing mostly the same old tricks as last time, for mixed results.

It’s not all change though, there is still a sense of continuity.

It’s very much designed in their own image - as debuts go, this is an impressive mission statement.

yeule’s willingness to play with sonic landscape and sci-fi dystopia means their version of emo is more infectiously haunting than the blueprint.

For an album winding in length, it doesn’t outstay its welcome; if the jump to a major means more lovingly fashioned breeziness like this, then so much the better.

A laid-back, well-considered and joyous effort to swing you through the summer months.

‘SongBook’ is a debut that suggests The Lazy Eyes have the guile to forge their own roads in a genre not currently experiencing a dearth of talent.

John Cale's latest is a visceral, thrilling ride, capable of soundtracking any seedy disco on the outskirts of Nookie Wood.

Broadcast's soundtrack for Berberian Sound Studio is a triumph not just because it is inescapably aware of itself as a soundtrack but also serves as a fitting epitaph for the band's singularity and vision throughout their all-too-brief career.

Most definitely one of the best albums of the year so far.

‘The Good Kind’ is a slow burner, but a rewarding one.

>> is not a pleasurable listen and it is not an easy listen, but it is an incredible one.

Freedom of Speech is clearly political, standing up to hardships of the modern world, tackling issues in a very mature way with intelligent and insightful lyrics.

Though as a whole it might not be as indelible as its predecessors, Malice K is certainly an artist to keep your eye on.

Ultimately there are no tracks that really stand out any more than the crowd, which is what bars this record from higher marks; but then, there are no bad tracks either, and the whole package is very listenable.

In places, they can be a little too on-the-nose - ‘Till We Meet Again’, for instance, literally has some Lynchian ‘ethereal whooshing’ whistling away in the background for much of it, at least before a freewheeling guitar solo salvages proceedings - but ‘The Last Exit’ is largely worthy of the cultural touchpoints it so proudly nods to.

Another smartly-crafted step forward.

The result is an accomplished debut that's a welcome--though not essential--addition to a growing number of lo-fi pop bands.

This isn’t necessarily one to win The Vaccines a new generation, but for those already won over, it’ll prove worth the listen.

A little change of pace and a tad more sonic variety admittedly wouldn’t have gone amiss, but nevertheless, ‘…Frankenstein’ is a solid addition to The National’s canon.

Though not a flawless effort, musically speaking, this band’s baby teeth are not far off falling out.

It's sometimes a difficult listen, there's a lack of lucidity and guile that at times leaves the less striking tracks to come across rather samey.

Rocket wear their influences firmly on their sleeve and there are moments, particularly during the album’s back half, where the sheer poise and polish of the songs can have them veering dangerously close to being one-note; happily, the title track, with its noisy crescendo, rounds things off stylishly. There is much promise here.


The song structures are comparatively comprehensible, and ultimately, the whole process would be somewhat superfluous if the duo weren’t capable of creating something worthwhile to sonically experience.

The Seduction of Kansas is another evocative and considered album, the band reiterating their ability to present topics with tremendous clarity and depth. Which, given the complexity of their themes, is exactly what most of us are crying out for.

It’s reassuring to note that, now five albums in, Tunng continue to distill and refine their sound, honing their craft to create their most accomplished album yet.

On ‘Transparent Things’, she finds the balance between spectacle and subtlety.

It’s taken him the best part of 20 years, but with ‘Traditional Techniques’ Stephen Malkmus has finally come up with the blueprint for slacker escape.

The fearful funk of inc. isn't just summarised as another outlet for meditative reflection--every song on this record showcases unbeatable quirk-pop perfection.

As the album progresses onto its second disc, it becomes even more spaced out and diverse. At times, the attempts to combine more abstract and challenging sounds fail to hold your attention. However, when this works well, as on the excellent ‘Sideways Glance', it’s a joy.

If ‘DISCO’ might not be the most progressive or groundbreaking album of the year, it’s certainly up there as one of the most charming.

There’s a slight dipping point of ‘Away We Go’ and ‘Iron Fist’, and this album doesn’t stand up quite as well as either of the ‘Good Apollo, I’m Burning Star’ epics, but nonetheless this is a thoroughly thrilling entry in to Coheed and Cambria’s rich canon.

Crusher has a way of alternating organically between pop songs and darker stuff without sounding inconsistent.

Much like their previous releases, Run Around the Sun is a collection of delightful, sunshine-soaked fuzz-pop.

This album is dizzyingly uplifting, as camp as a weekend at Butlins and effortlessly iridescent.

In a sense it presents itself as an evolutionary rather than revolutionary development, in this case one which takes its predecessor's penchant for the instant and injects an enormous dose of FM-friendly American power-pop from days of yore into the mix.

The album is most interesting when it eschews from the guidelines.

All in all, a confident second album that showcases why Shura should be on everyone’s radar.

If we're honest, it doesn't start well, 'Be My Girl' is easily one of the worst tracks on here. But things do pick up.

Uncomplicated, joyful stuff.

The impatient will find ‘Once Twice Melody’ a tad wishy-washy, but for those who persevere there’s still a lot going on beneath the waves.

Exploring further realms--both musically and lyrically--with familiar hands, heads and hearts, this is an album, and a band, ready to give survival a go.

Newer fans might not be totally impressed here but existing ones yearning for Harris’ observations should be satisfied otherwise.

Definitely an acquired taste for those who Grizzly Bear’s less immediate side already ticks multiple boxes, but for those it’s surely a win.

Kiwanuka's approach may be old fashioned but his is a sound full of warmth and subtlety.

If you enjoy music that’s fun and rousing and are curious about other musical traditions--even if they are all jumbled up together--then Pura Vida Conspiracy makes for a joyful, life-affirming experience.

‘Second Nature’ hits the mark when it comes to dancing, although taking the time to embrace those quieter moments can often be some of the best, too.

The results are surprisingly cohesive; Sky Larkin could often be boisterous to the point of verging on bombast, but this is a record that speaks to growing measure and maturity.

At times, you yearn for a little more grit among all the blissed-out euphoria, but ultimately the hooks are big enough to sink in and take hold.

There’s no upturning of the band’s musical blueprint, but their social conscience has earned them a third act, with ‘Nature Always Wins’ a potent way to open it.

There are a number of genuinely interesting pieces here that make this a very worthwhile addition to Bjork's discography.

Striking the right balance between slick and energetic, if a fuzzy but fun album’s what you’re after right now, look no further.

Frontwoman Lili Trifilio describes ‘Honeymoon’ as an ode to spontaneity, and it’s in certain abundance on an album that finds the Chicagoan outfit entering a state of pent-up rapture. The band roam without a care, sporadic laid-back moments gelled with raucous vitality - a sensitive chemistry which Beach Bunny absolutely nail.

It’s obvious they’re well-practiced at the craft, conjuring up 35 minutes of their trademark melancholy. It’s also an album of firsts for them - newly added keyboard player Marta Cikojevic adds a vital new layer. This in turn frees up vocalist Jane Penny to add a couple of flute solos on the record, which is a pleasant surprise. In fact, it’s the broadness of flavour on the album that is its main strength.

There is one very commendable thing about 'No Gods' that cannot be said of many of the revival bands of the moment though – Sharks seem almost entirely free from pretension; for that reason alone the album will garner respect and stand the test of time with punk fans.

Land Of CanAan's mix of warmth and sorrow sees Marques Toliver finally create an accomplished and whimsical sound that we only had glimpses of in other artists’ work.

'I Was A Cat From A Book' is a good album with top-class musicianship and production, that deserves your ear at least once even if folk is not your thing.

Amongst all that haze, it's clear that Krell has produced another gorgeous record that is incredibly open about love and loss.

While there could be a little more individuality on show to elevate Claud to their contemporaries’ level, ‘Super Monster’ shows promise of a burgeoning artist finding their own voice.

Not everything about ‘BUMMER’ is fully perfected just yet, but there’s plenty to feel upbeat about.

R. Cole Furlow has managed to piece together a jigsaw of DIY recording methods, thrashy punk, grungy distorted noise and glowing synths to brilliant effect.

For creating something as fresh and strong as this at album number eight, Portugal. The Man deserve to be applauded.

They’ve managed to balance brutality with a controlled ambience that takes nothing away from their distinctive character.

As a whole, this ambitious project can be an oblique listen but Acaster’s enthusiastic delight in experimental, underground music is on full display.

An elegiac, introverted release that feels more like a late-career meditation than the victory lap for "NFR!".

Notably looser is ‘Oblivion Overture’s classical, Fantasia-esque take on earlier track ‘Oblivion’, while ‘Morning Of My Life’ finds a softer side to Flemmons’s nasal vocals, accompanied by little more than soft plucks of guitar. When combined though, these opposing elements transform Jackal into a distinctly outright collection of songs.

Granted, three of the tracks from the rather aptly-named ‘This Place Sucks Ass’ may be taken from their 2019 ‘Morbid Stuff’ sessions, but their fiery spirit of fighting back is still very much relevant.

All the right ingredients are there, but the recorded format makes it fall short it from becoming a flowing, cohesive album.

‘End of the Day’ feels like a long, slow goodbye to her old life; elegant and, given the context, elegaic.

There’s a deep hip hop pulse to many of the tracks, which sometimes transform themselves into jungle beats, usually accompanied by galactic synth stabs and waves of sound that transport the listener to a cosmic plane.

A mixed bag.

They may have left behind their haunted house roots, which might rub some people off the wrong way, but Chairlift have found themselves creating something far more barmy, bold and exhilarating than ever before.

You're left with an album that would be great fun live but needs reining on record.

This occasional, kind of ironic lack of restraint makes some of the blackened themes of Choir of the Mind even more oddly oppressive, even if Emily’s melodies are often spacious and airy. When it gets its balance perfectly poised though, it’s an album that can be engaging and emotionally-charged.