With an utterly flawless, heart-twisting vocal throughout, America spins tales of sorrow and betrayal and turns them into something exquisite.

The singer-songwriter continues along that trajectory with her most cohesive, accomplished and undeniably catchy collection of songs to date.

Tracks such as ‘Answer’ contain more light, pop-ridden sensibilities, yet it’s with the grittier, heavier-sounding choruses where Phantogram are at their best.

‘Spark’ presents a jarring change: not one from that familiar warmth to icy cold, but only halfway, a sort of uncomfortable mild chill.

Their most ambitious work to date, ‘Myself In The Way’ sees them enter a new world of expansive sound.

Although the remixes do not do the original songs on 'Gloss Drop' justice, 'Dross Glop' does give other artists their chance to interpret Battles' songs in their own way, from a rap twist with Shabazz Palaces to others going into even more experimental territory than the band themselves.

An intriguing album befitting of a fascinating man.

The majority of the record is just not memorable enough.

Their past is a double-edged sword, but that doesn’t prevent Head Carrier from having its own unique strengths.

By refusing to change the song structure or tempo in any way, Deez has created an album that is stuck in a memory that grows more rose-tinted by the day.

Working Girl isn’t the sleekest of albums but the stumbles and scrapes that Little Boots overcomes are a testament to her desire for change.

This is not their most groundbreaking work, but it's very easy to enjoy a band who themselves enjoy what they're creating.

It’s fun, it’s enjoyable and it doesn’t take itself too seriously.

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.

Permission to sprinkle Big Sounds over their insta-recognisable songwriting might not have been something they’d allow themselves in the past, but here it transforms what could’ve easily been ‘churning out more of the same’ into 21st Century alt-pop bangers.

The concept is interesting, it fits well with the sonic ambitions of the band, and for the most part it flows effectively and has good changes of timing and pace.

A wonderful start.

The nods to Spiritualized and My Bloody Valentine are still there, but the world has moved on since then, and unfortunately, it feels like Maps is still stuck in 2007.

Those looking for 24/7 simple, saccharine sun and smiles may be jarred in a few odd points; but the rest of us can enjoy the added punch and intensity that Be Slowly brings to the table.

A genuinely pleasing aspect of this album is hearing Carter’s vocals dominate more than they have in the past. However, the pace of the second half is less full-throttle and less memorable for it.

With a few forgettable songs and seemingly overcrowded moments, Lo-Fang's debut falls short--acting as more of a promise of what's to come, rather than a thrilling introduction.

If you were expecting a post-rock album, you've come to the wrong place; this is something sharper, more accessible, sure, but no less clever.

Take a step back from the ins and outs of the record and Simulation Theory stands as a ridiculous, bombastic stab of maximalism from one of the world’s biggest stadium rock bands.

Kiesza may have already dominated the charts and club scene, but she’s got a whole lot more tricks up her sleeve.

This is not the most cohesive body of work, granted, but oh man does it have some total bangers.

Familiar territory and no mistake, but his pining craft, all jazzy guitar shapes and heart-stung pleas, feels remarkably well-realised. Highlights abound.

Wicked Nature goes on for much too long, leaving it just as forgettable as the rest.

By trying to make them sound something they're not, the end effect falls far short.