It finds him at his most confident, if not most innovative, and maybe his most comfortable.

Despite the swirling joy of ‘Julie’ also making for a high point, moments like these aren’t consistent enough to propel ‘Banane Bleue’ towards its potential peaks. They do however show that, when he delivers, Frànçois can still make pure, earnest, and enduring connections.

This is a feel-good hug of an album, which will transport you to the care-free, peace and love West Coast in a matter of minutes.

It’s a strange, industrial trip that’s full of experimentation. Kim’s signature vocal style - a kind of husky, gasping whisper - is as recognisable as ever, though. And like with the best moments of her career, here she is uncompromising in her artistic vision.

The free jazz of the title track grates and some of the record falls a little bit into the background and seems almost too polite at times but Mars is a sophisticated and beguiling album full of wonder.

Because ‘You’ll Pay’, ‘Read Em And Weep’, ‘Only Love’, ‘Fever Tree’ (a charming cover of William Bell’s ‘I Forgot To Be Your Lover’), and ‘Don’t Let Me Go’ are all peppered with a shimmering strut, and the kind of euphoria that’s surely only a well-filmed choreo sequence away from the kind of virality enjoyed by Jungle of late. And this is a lane that fits The Black Keys like a glove.

Each song sounds like it has an endearing air to it. At times the lack of polish can be grating, but there are moments of delicacy and sensitivity that create a more rounded record than seems to exist on first listen.

Recycled though some of these tales may be--his notable past tends to weave its way into much of his work--sung with his Southern drawl and playful hollers, Seasick Steve just about has the charm and vigour to carry them through.

There’s an altogether calmer atmosphere on display here, that in its beauty forgoes some of the immediacy that characterised her earlier catalogue’s stand-out moments.

An intriguing album befitting of a fascinating man.

It's very different, and whether or not it's better than The Mars Volta is a debate for others; what is clear is that Omar Rodriguez Lopez--and friends--still have a lot more to offer.

It's a short and sweet affair, clocking in at just over half an hour, but Splashh don't need any longer than that to make their stamp.

True North, with its concise (only one song breaks the three minute barrier) bursts of dissatisfaction and alienation, includes some of the strongest, most focused material that the band have recorded in many years.

Throughout the record, Fenne provides a poignant glimpse into the uncertainty surrounding your whole life changing in front of you.

It's patchy, but when English Little League is good, it's great.

His identity is in constant flux, making for a revealing and honest listen from one of the most-hyped artists of 2022 so far.

Scattered with the odd moment that’ll leave you in no doubt that Woolhouse is far from the finished product, he nonetheless offers glimpses of a talent that is at times unrivalled.

Though 'Europe' is an enchanting and elegant record, this is not a giant leap forward.

If it's right to say that 'Circles' sticks close to what has come before, it also proves that Moon Duo are masters of their craft.

Sam’s latest finds them exploring self-acceptance and self-growth across their now-classic style of soul-tinged pop. ... While ’Unholy’’s catchy melodies may be elsewhere untouchable, it breaks down the boundaries of topics to explore throughout the rest of ‘Gloria’.

Their fourth studio album simultaneously searches for hope as it candidly condemns their surroundings. ‘Self Worth’ looks to find just that, violently expelling all that is wrong to settle on inner peace. That anger is palpable, from the jarring opening of ‘Stay There’ to the minimalist bass and accompanying cries of ‘Apathy’.

There’s a real sense of space, Squirrel Flower already showing herself to be an artist comfortable in her own skin. They aren’t all hushed ballads though, the instrumentation even verges on grungy at times, but make no mistake, there’s an absolute flow here. An accomplished first full-length.

In drawing together all his disparate styles in to one distinct context, [Wolf] might have created his most accomplished album yet: albeit one that is a little too long, and rather in love with itself.

Clash The Truth is an accomplished album that should see Beach Fossils leave behind lo-fi slacker pop's balmy evenings.

This is an album's cutting room floor yet each song still retains Hutchison's instantly recognisable Scottish drawl, infectious hooks and intelligent lyrics.

Had they filtered the cacophony of ideas a little more, ‘Notes…’ could have matched ‘A Brief Inquiry…’ as a modern-day classic; as it stands, its legacy looks set to be slightly more conditional.

As has become customary for The Leisure Society, Hemming's lyrics and gift for storytelling once again stand out, his wonderful couplets and warm voice helping to lift many of the weaker moments here above torpor.

Driven by Zara’s unwavering vocals and energetic delivery, ‘Venus’ is icy, crystallised and super fun - “fit for a goddess,” she says - and, aside from being a slight hodgepodge of genres, it’s a lush flex of skill.