There are strokes of brilliance on Twin Shadow's second full length, 'Confess', as Lewis Jr. blends 80s influences with dashes of funk and pop to create a largely cohesive record that is steeped in lustful atmosphere.

They’re not re-writing the rule book, but on ‘Chopper’ Kiwi Jr lift off towards becoming cult favourites.

With its warmth and energy, it will easily see you through these cold winter months.

The more spacious, reflective nature of some of the tracks means that each member of the band gets a chance to shine in the spotlight. But there’s also a great amount of pleasure to be had simply from searching out all of the tiny details that add even more dynamism and intrigue than usual to the album.

On a record that outwardly calls for the end of us, there’s plenty to live for, even if it’s simply the subtle beauty of Nothing.

'Incorruptible Heart' is a frustrating listen. You are left with the sense that there is a brilliant pop group waiting to burst out but for the most part, they are sadly suffocated by the arrangements.

It's never boring, the dynamism of the tracks means they all have a sense of motion. It's just, after a while, there doesn't seem to be a destination in mind.

For better or for worse though, Moh Lhean mostly moves to the beat of its own, strangely laid-back drums. It just would have been nice to have a little more variation buried within those meditative vibes.

It is a fine album. Pointed without being preachy, cerebral without being inaccessible and never anything less than thrilling.

There's little doubt that Mudhoney intend this to be an obtuse, difficult listen--the lyrical allusions to GG Allin certainly suggest as much--but its lackadaisical approach leaves it feeling toothless rather than effortlessly cool.

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.

It’s all teeth, blood and bones, spit, grease and sweat but it’s a snarling yet intelligent beast of an album that stalks the landscape of British music like the unstoppable monster it threatens, and with a certain bloodlust, deserves to be.

At times it feels far too long.... Yet on the whole it remains impressively cohesive, and perhaps more importantly (and surprisingly) never feels like they're going through the motions.

The rich swells of optimism that characterised earlier cuts such as ‘Skipping Stones’ or ‘Lost Dreamers’ have been replaced with a yearning melancholy.

Channeling everyone from Talking Heads to ESG, BODEGA remain as giddy and funked-up as ever. And on this highly danceable new addition they barely make a mis-step.

Yes, years in the industry can teach you a lot, but ‘Metal Forth’ feels like pure, instinctual exploration.

Throughout the record, Doja has the method for seeing soaring stats down: Instagram caption ready lyrical quips, a flurry of famous pals (The Weeknd and JID also appear), and an effortless kaleidoscopic pop soundtrack backing it all up.

It can’t match the drive and power of his electric projects by its very nature, so it may well remain a release for the hardcore fans.

As is always the case with albums of this nature that brim top-to-toe with guests, it’s sometimes hard to locate the thread that runs through it all. Nevertheless, there’s a terrific bounty to be enjoyed in the centre of the Vernon-Dessner Venn diagram.

It's one of the best rock albums of the year and shows there's no age limit on kicking up dust and splitting ear drums.

Slowness doesn’t surrender its wonders easily. But when it does, and there’s no guarantee it will for everyone on every listen, it can be perfect.

In Highest Point In Cliff Town, Hooton Tennis Club have produced a debut that’s utterly irresistible: a summer soundtrack that makes staring out of the train window significantly less mundane; an album that restores positivity in the type of Mondays that Courtney Barnett knows oh so well.

With plenty of sweet to balance the sour, this is a record that will resonate with anybody rebuilding themselves in the aftermath of self-doubt, and easily confirms itself as her most honest work yet.

Taken together, the albums are overwhelming in their stylistic diversity; one minute, she’s serving up clattering electro on the likes of iii’s ‘Skullqueen’ or ‘Ripples’, and the next, we’re hearing her break classic ideas of what ambience should mean to fit her own mould on the Oliver Coates-featuring ‘Esuna’.

It is a dynamic and sensual album, rich with imagery, peppered with romance, and imbued with joy.

It’s an album that feels rich and invigorating, and proves they’re still one of our most treasured bands for a reason.

Coxon's most accomplished solo album to date.

For the rest of us, Natasha’s first real pop effort since ‘Fur and Gold’ is an impressively lean and infectiously hook-laden romp; doomy disco for dark times.