It still has the eccentricities that make them such an intriguing band, but without compromising on these elements Tune-Yards have still made their most accessible, danceable and thought-provoking album to date.

The overall ethos for this collection of songs is that less really is more. Leading to an absolute triumph of a record. Incredible songs, performed with honesty and passion.

For everything that's come before, For All My Sisters feels like another step up. [Mar 2015, p.71]

He may know damn well how to deliver a banger, but also when to tone it back a bit too. Though it may not all hit hard and there are some sonic kinks that could’ve been ironed out, when it does hit, it’s impossible not to be swept up.

'MTMTMK' may not quite carry the same dazzling shock of hearing something truly different in the way their debut did but it is certainly an album that carries on the spirit of the debut while progressing their sound at the same time.

An album that has no shortage of huge highs.

Where ‘Designer’ had shade, ‘Warm Chris’ offers light. It still feels bizarre, like stepping inside a doll’s house or a hall of mirrors, but it’s less garish, and ushers back in some of the vulnerability of ‘Party’.

Aidan’s scathing wit is more incendiary than ever: the vivid, often lurid portraits he paints of the society around him feel more vital than ever, as does his ability to navigate them with a grim chuckle.

He’s decided to take things a little slower, in the process creating his best, and perhaps most coherent, album to date.

Lyrically, it’s a scattered series of ruminations on the end of an era, with anger, guilt and sadness all permeating its fabric. Musically, though, it expands the singer’s palate, transmitting these feelings via new, punchier textures.

It’s weird and brilliant, and anything but regressive.

While the maelstrom of noise doesn’t let up at any point (with guitar feedback providing a segue between each song on the album), it is only a veil for the strong songwriting that lurks beneath. An emphatic debut.

Each song feels like a separate vignette, but putting your finger on the exact theme isn't easy; more often it's left entirely to the interpretation of the listener.

Despite clocking in at just under 52 minutes, never does ‘BUTU’ feel anything but relentlessly frenetic fun. From its breakneck bonkers energy, to the more slowed-down moments, this is absolutely one for the ravers.

A little bit cocky at times, sure, but with the tightness to back it up, Night People feels like the band’s most natural and accomplished step so far.

Melancholy, meticulous and achingly grand, it extends his artistic narrative in resplendent form.

As on her previous albums, what makes Eleanor’s songwriting feel magical are the stories she tells and the tiny details she drops in.

Fast Food is pretty successful in capturing the ups and downs of complicated relationships. The fact it manages that in a way which is neither hackneyed or predictable is near miraculous.

With Hold On To Your Heart the trio have crafted another bold and brilliant album which soars higher than ever before.

Torres is a promising, impassioned debut.

White Lung push themselves to every corner of the universe on Paradise, presenting a beautiful vision of 22nd Century pun

Although playful in a creative way, this is a serious album.

This album is about taking control back. It does it with conviction and vigour, with squalling guitars and wiry bass lines.

A restrained pace imbues the album with a feeling of deep sedation. It’s a blissful listen from start to finish.

The one constant success of her sound is her ability to jump from one song to the next in a way that rarely seems jarring; it’ll serve her well to keep the multi-faceted nature of her sound from here on out.

Fading Frontier draws a new line in the sand, and it could be the beginning of a more direct and big-thinking Deerhunter.

Ten years in, it’s unmistakably King Krule, yet somehow even broader, denser, and crucially more enticing than what has come before.

From the shifting tempos of ‘Copper Mines’ to the serene beginning and raucous math-y crescendo of closer ‘Hold Your Own Hand’ When You Walk A Long Distance And You Are Tired is never settled, and never should be.