The Orielles succeed in painting a vivid world of colour and flavour to get lost in.

The variety of the record is tied together with a strong story-thread that prides itself on being cohesive.

Mothers have taken their tactics of constant instrumental juxtapositions into another realm, somehow finding a middle ground between the pleasant and the discordant, where Mothers have comfortably found their niche--it’s not always uplifting, but it consistently delivers.

His most experimental release to date.

Cynicism at the door, ‘Doggerel’ is an enjoyable – and exciting – listen.

While the unique sonics and instrumentation of this album are notably brilliant, they at times feel disjointed on a track-to-track basis.

There’s something in the way Sylvan Esso craft their music, weaving folksy melodies and acoustic instruments with synths and 808s, that feels like exactly what pop music should be: punchy and pure.

The issue is that, in conflating deliberation with maturity, ‘Today We’re the Greatest’ ends up feeling a little bit middle-of-the-road.

There’s still those effortless signature guitars and plenty of light to counteract the shade, but overall Francis Trouble is a more risky counterpart to his earthbound sibling.

Blessed with a beautiful, halting falsetto and a way with words, he is a very sad man, and this is a very sad album. It will make you want to lie down in the dark for a while and think about things.

Never sitting still or dwelling on their influences for too long, the third incarnation of Cheatahs in 2015 have harnessed the hyperactivity of their release schedule, channelling it into a collection of tracks that houses some of their strongest moments to date.

John Cale's latest is a visceral, thrilling ride, capable of soundtracking any seedy disco on the outskirts of Nookie Wood.

Overall, ’High Road’ is an overwhelmingly triumphant pop offering that sees Kesha back at her best and having shit tons of fun while doing it.

As If Apart follows the template of his similarly bucolic 2012 solo debut ‘Overgrown Path’, shrouding his loosely constructed songs in a shimmering lo-fi shroud that makes everything sound as if it was recorded on his front porch, which it almost certainly wasn’t.

An intriguing side project that adds to the pair’s already storied careers.

Woman’s Hour have created something truly special in these final throes.

Twenty years on from their debut, ‘The Big Come Up’, it’s a statement of how far they’ve come, as well as an indicator of where they might be heading next.

Trevor Powers has crafted an album full of malice and aggression that it lives up to its title, but it is peppered with themes of hope and optimism.

A record of reflection and connection, it’s one that, at its best, ranks among the more beautiful-sounding you might hear this year

This debut album scraps coherence and convention and prioritises the more vital values of music; making songs that are both accessible and rinsed in invention.

Musing on “perfected harmonies” while unexpected string sections peer into the foreground, we’re witnessing a group confident enough to start afresh while giving forceful nods to their celebrated past.

Although previous work has never shied away from her individual experience, here Laura elevates her lyricism to new heights.

It’s all hips, handclaps and riffs, lots and lots of riffs. It isn’t perfect, but you’d be hard pressed to find a record as fun as Devour You.

Throughout ‘I Hear You’, there’s a clear intention to create something beyond what Peggy Gou is typically renowned for, yet it doesn’t always quite hit.

On her seventh studio album, the Canadian musician spreads her brash and ultra-horny sentiment across another collection of vibrant, high-energy bangers.

Severely damaged, sometimes terrifying, and always enjoyable, it’s his most challenging album yet.

A collection that is perfectly pitched between old and new with nothing too challenging. It hangs together very well for both a casual listen or as a soundtrack to a night out.

The big floor-filling moments are in there, particularly on the gripping one-two of ‘Staring at All This Handle’ and ‘Face to Face with Spoon’, but they feel incongruous in the thick of what is otherwise a woozy comedown of an album that fails to cover a great deal of new ground.