‘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.

Bella may not have enjoyed bringing ‘Quarter Life Crisis’ to life, but in facing her insecurities head on she chips away at the pristine Baby Queen polish and pairs her distinct brand of pop with real substance.

With the world often seeming like a bleakly real episode of Black Mirror these days, Losing--a record that expresses the paralysing feeling of helpless that comes from watching it all unfold--is both timely and cathartic.

She is as captivating as ever, but the rougher edges have been removed slightly giving us a more polished, and immediate, album.

hile ‘Back in Brazil’ is a tad baffling, ‘Caesar Rock’ doesn’t quite hit the right notes, and ‘People Want Peace’ feels a tad trite, even from one of the (probable) pioneers of the peace hand signal. Still, it’s hard to leave Egypt Station without a grin.

This time around, she delivers more of the same: tracks for the club with a sense of restraint and melancholy, as well as a poppy accessibility.

In short, the Canadian four-piece’s third LP is a terrific fusion of indie, new-wave and house that demands attention.

On all fronts, this is a stirring return to form.

when he gets it right, he's one of the best.... Let's be honest though, the hit rate isn't great.

This is thoughtful, nuanced R&B that demonstrates Jorja’s kaleidoscopic feel for her genre, incorporating everything from neo-soul on the brooding title track, to flirting with dancehall on ‘Feelings’.

A record that’s a hundred times more cohesive than Born to Die.

Fans will hear echoes of his best work, but for most this is a stale, uninspired outing for the legendary figure.

A tour de force of Eagulls' brash and brazen-faced formula, this is a record that’ll be ringing in your ears for days after it’s finished.

At times it gets a little too gentle, the warm soup of instruments and Pulidio’s soothing voice blending together into a indistinguishable slush, but when it holds together it’s a pleasant trip.

Kid Wave succeed the most when they go huge on the hooks and choruses.

On this debut, Jordan and pals aren’t afraid to contrast bravado with vulnerability, and it’s in the unexpected that their debut shines brightest.

Highlight ‘By Myself’ sings of relapsing after getting sober, but is set over a simply joyous ska-tinged musical romp - musical and lyrical contradictions are all over Almost Free, but it gains its power from dancing through the hard times with a massive grin on your face. The musical experimentation of the record continues throughout.

While To the Recently Found Innocent might not surprise, it’s a joyous listen.

If you’re new to Trail of Dead, this might be a good place to begin your investigations, and if you’ve lost track of them since their critical and commercial peak, then ‘Sound Of The Silk’ and IX as a whole is as good a way as you’ll find to rediscover this consistently fantastic band.

The fact that Efterklang have managed to cultivate such an effortless sounding exercise in sonic geographies is sheer testament to their skill as master artisans.

They stick to their guns, and they end up emphasising their rough-around-the-edges strengths.

Each track is a musical sketch that assembles fragments of thoughts and shadows of daily pursuits. Escaping the urgency of old, this Ultimate Painting is a picture of a disquiet melancholy.

Blue Lips isn’t perfect; it has a predilection towards being over produced. Thematically, though, her honesty about her imperfections is what makes all so irresistible.

Nodding strongly towards everything from Hall & Oates, to Justice, and Patrice Rushen, and flaunting all of Mount’s influences without a hint of irony, Summer ‘08’ is from start to finish, a back to basics, pure-pop odyssey.

As effortlessly rich as Wondrous Bughouse seems for the listener, it's evident this record took Powers to places he wishes he’d never been. Darkness has never sounded so gloriously technicolor.

While the album may look backwards musically, Gonzalez has always been particularly adept at chronicling the world around him (in this case his Hackney stomping ground) to evoke a strong sense of place and keep the record firmly rooted in the here and now.

Powers throws just enough of his own inquisitive character to find his finest moment. He does it time and time again on this record.

Ghostpoet has created a record that feels timeless in a way his scratchy bedroom productions could never have dreamed of.