Unexplored avenues, Nutriblended genre combinations, and left-field pop gold have always been Santigold’s bag, and though the price tag here may be 99¢, she’s never sounded freer.

In doubling down on her niche - that is, artsy Scandi-indie-pop - ’I’M DOING IT AGAIN BABY!’ is girl in red at her most realised.

Go Fly A Kite is a likeable album, but it sounds like Jet at its worst times and like an American alt-rock band past their sell by date at its best.

Tell Me If You Like To possesses the same breakneck speed spirit of their first steps. But it’s also a full-bodied beast, the sound of a band racing to the finish line to accept their prize.

The irony is that perhaps in trying to grow old a little too gracefully Jimmy Eat World have lost some of the youthful exuberance that so endeared them to us in those heady days around the turn of the millennia.

As ever, there's a sonic depth here that most artists could only dream of attaining, he works melodic light and shade beautifully; perhaps never more so than on 'Hangtown', which is a veritable swoonfest.

There’s a pop sensibility never far from Maya and her collaborators (co-produced by Okkervil River’s Benjamin Lazar Davis, with credits too for bandmate Will Graefe, and fellow folky soul Christian Lee Hutson) that gives the record a well-masked determined nature, simultaneously familiar and exciting.

It doesn’t always quite hit those high notes, but the pair have set out to create a sometimes elusive feeling of connection. Its sheer scope alone means there’s likely to be something here that will undoubtedly resonate.

While their first outing had as much subtlety as a whack around the face, this time they’ve born a more considered--but sinister--creature.

There aren’t quite enough hooks to unite some of the more exciting experimentalism, but when SHIRT does throw them it’s not certain that they land.

bounty is a record that, whilst great to vibe out to, kind of feels a little stitched together piecemeal.

A delightfully fun record.

While their move away from the genre isn’t quite absolute, this album proves that they possess enough confidence and ability to do just about whatever they want.

Essentially, what each track on At Hope’s Ravine has in common, is the blistering intensity with which it’s delivered, culminating in the ever-intensifying title track and the cathartic sonic explosion with which it bows out. A staggering debut album.

The decision for Brown and collaborator Jonah Swiller to finally make a record together in the same room, after two remotely composed past releases, has largely paid dividends.

There’s a further sense of spiriting when harps show up on the tracks ‘Limbs’ and ‘Take Him In’, and ultimately this album succeeds as an ominous exercise in atmosphere.

An album that manages to be poignant and pointed without sacrificing any of its unabashed sparkle, ‘Vicious Creature’ adds even more dimension to the Chvrches singer; a sonic origin story that’s been well worth the wait.

At best, it's eccentricity gone wild--there's no shortage of weird noises creeping in throughout--and at worst, just confusing.

Melancholic and joyful, it's both soft and harsh, but more impressive than any contradiction is the gorgeous use of timbre that takes over from the word go. A wonderfully simple, elegantly performed album that puts the importance of texture into perspective.

This is clearly an album of personal and musical growth for Lykke Li--it’ll be interesting to see where she goes next.

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

Unoriginal, yes, but while some elements can verge on sounding a bit tired in places, the notable musical lineage it follows gives The Mountain Moves the potential to be as timeless as it is conventional.

With a good spread of melodies and hooks throughout, even if ideas do fly about like rice paper, it’s a strong development of a record.

The overbearing problem with Isaac Gracie is just how Isaac Gracie-centric it is.

The result sees Plague Vendor’s ferocious punk swirl around explosions of synth and thunderous electronic drums, a combination that ultimately propels their ever-present homage to classic sounds into the present day.

Sure, if you’re after something revolutionary, this one’s not for you; but ‘ONE MORE TIME…’ instead succeeds in its mission to reinvigorate the trio’s alchemy, and gives the band a much-needed chance to reflect and celebrate for at least one more time.

As to be expected in this setting, the collaborations are occasionally guilty of overindulgence.

Between sombre tones and esctasy highs, and with tracks like 'Folk Hero Shtick' and 'Reagan's Skeleton', this will leave you with a grin on your face and a confidence music will keep going.