An excellent collection of soul-bearing Americana.

Assured, confident, and infectious, Wait For Something To Happen sees a band developing both as musicians and songwriters while still retaining what made them great in the first place.

All in all, Summer Camp have offered up a wholly enjoyable second effort, possessing of a homespun charm that bears more similarities to those early Myspace demos than predecessor 'Welcome To Condale'.

The record’s most straightforward track, the Doja-Cat-esque ‘On The Low’, which highlights how modern hyperpop-trap is, at its best, Rico Nasty-indebted; or the artsy punk of ‘Crash’, which feels like a sibling to present-day 070 Shake alt-pop. ‘LETHAL’, firmly reasserting the Rico Nasty legacy, is an alluring feat for the US rapper that feels just as trendy as it is against the grain.

Featuring some fairly rudimentary drumming, and predictable solos, this is the musical equivalent of 'painting-by-numbers'.

This is a captivating record; a studied, precise and explorative showcase of songwriting, equal parts accessible and experimental.

Richly detailed and supremely defined, Half Of Where You Live is a wonderfully vivid follow up from a producer at the top of his game.

It's good--but not great.

Sic Alps is an often fine, often frustrating listen which only succeeds when some flesh is applied to those skinny Californian bones.

While not exactly the wildlife-soundtracking level of Nan-friendly safe his day job has reached, it’s largely default Jónsi, just with a few more effects.

After the immediacy of Wolfgang, ‘Bankrupt!’ can seem like a sidestep. But delve deeper and this is an album reveals itself as a gem; one which mixes their crowd-pleasing hooks with an inventive shift in their sound.

Soft Will marks Smith Westerns moving into another realm of quality and experimentation, and, to put it quite simply, this album is just a complete pleasure to listen to.

‘Are You Fucking Your Ex’ has none of the melodrama its title suggests, the question holding about as much weight as ‘did I leave the bathroom light on?’, and ‘I Got Hurt’ sledgehammers the line “I got hurt… and it didn’t feel good”. For a songwriter who’s so loved for finding poetry in the quotidian, for saying so much with so little, it’s just a bit basic. Maybe if he’d allowed him - and us - to wallow a bit, he’d have had more of a point.

For every moment which drifts slightly, there is another where they toss the superfluous and it all returns to tremendous, streamlined pop.

Every song has multiple hooks, catching your brain and pulling your toes up and down to the rhythm.

So we get the usual talk of death rides, mescalitoes and, erm, black pudding. But when the duo do click, it’s masterful.

It’s a far braver album than his debut. Chaotic, experimental, but oddly refined, it looks like Aaron Jerome has released one of 2014’s most exciting albums.

Mixed Emotions' has a track for every mood without ever sounding in the least bit forced or contrived... Finger clicking good.

‘You Better Run’, while perfectly adequate, has the aura of ‘pub back room’ to its chugging riffs; it’s fine, but it’s largely filler. In general though, As You Were is almost certainly the best thing Liam’s offered us since he parted ways with his big bro.

It’s all the more joyous for its lack of shame. This is a major label pop album and that’s OK.

Throughout, keys shimmer, the production is bright and sky-facing, with an emphasis on synthetic beats. It makes for an album that’s unsubtle and all the better for it.

With his debut album, Alfie Templeman has found a means of discovering himself and a means to cope. It makes for something incredibly promising.

The last third of the record is more streamlined, with the sweeping, subtly metallic ‘Kill Or Be Killed’ offering a welcome throwback to the days when Muse were at their best, but it’s not enough to redeem this all-too-OTT offering.

On the whole, his grief and the chaos that ensued (much of which was channelled into the infamous hedonism of his formative band) is transformed into something altogether more cathartic and inspiring. Sonically, too, it’s a record that continues to surprise.

Seven albums in, they’re not so much shifting the formula as refining it and waiting for cult stardom to creep up on the scene.

Hobo Rocket is a genuinely believable, and extremely successful celebration.

Synths bloom like the early morning rays of the sun, reaching out to a lover lost in the darkness. ‘Tu sais ce qu’il me faut’ celebrates seduction as he lusts over a beau; the way they walk, the way they dance, their body is celebrated in all its glory.

Another Language’ opener ‘New Topia’ is quite starkly different to their early work, losing much of the dark overtones in favour of a gentle build and furious, ecstatic release. From a distance, it’s the kind of no-holds-barred heavy rock sound that Mogwai made their own, but This Will Destroy You take it a step further, pushing the whole recording into distortion.