Something’s Changing isn’t without flaws--‘Soak It Up’’s shuffling tempo jars, whilst the orchestral leanings of closer ‘I Can’t Change It All’ are at odds with the rest of the record--but it sees Lucy Rose easing into the next stage of her career.

For the most part the Angels charitably continue to breath life into a ragged genre with a looseness and playfulness that belies their serious business name.

Broaching love, lust, power-dynamics, jealousy, and heartbreak along the way, Years & Years bring that all important human touch to their massive pop anthems.

There is a naïve charm to their rudimentary rock and 'Tosta Mista' is a sporadically great introduction to those charms.

On ‘Motordrome’ she returns fresh and reinvigorated. No longer simply living to survive, MØ is having fun being herself.

Aspects of the record come off slightly muddled.

Cemetery Highrise Slum is a maze; disorienting and satisfying in equal measure.

On their sixth LP, unpredictable Californians Foxygen are less up for a bop than an attempt at settling some scores.

While each track is meticulously crafted, you can’t help but feel a sense of familiarity and perhaps repetition settle in the last half of the album.

On occasion you may feel that Trailer Trash Tracys could benefit from keeping things a little simpler, but fans of the band’s first record have plenty to enjoy here.

Like all good records, it has its magpie moments too - the Justice / Daft Punk tinged one-two of ‘Celebrate’ and ‘Surround Sound’ especially effective in the current climate--but fundamentally Ice On The Dune is the definitive Empire Of The Sun album.

It’s all largely inoffensive and wholly listenable. Which is fine, but we’ve come to expect more from La Roux.

Lenses, despite its four-to-the-floor tendencies and impeccable imagery, falls flat.

Young Dreams have created a collection that compacts all the sunny sounds of youthful hopes and expectations into one blissful whole.

Eucalyptus is a dense and challenging listen, but while it might alienate post-‘Merriweather Post Pavilion’ converts to Animal Collective, it might bring back those who loved ‘Campfire Songs’ but have felt disenfranchised since.

If there are faults with the record (aside from the mis-step of the fairground organ-esque 'Waltz), it's that while it works well as an album, it almost works too well with tracks all-too-often passing without leaving a lasting impression, with some of the shorter songs not always being given the space and time to develop as you'd perhaps expect them to.

Competent. Completely forgettable.

Kyla La Grange still has a voice you want to listen to, but two albums in, it seems like she’s still searching for the best music to set it to.

As a taster for her imminent third album, Emmy has newly positioned herself, distancing herself from the ‘anti folk’ sound she once claimed with 2009 debut ‘First Love’.

Cold Pumas peddle a kind of post-punk that’s long since been done to death by this point; it takes real ingenuity to find a way to imbue this particular template with genuinely new energy, and on this evidence, they haven’t found that yet.

Language could afford to lose a few numbers--particularly the low-energy likes of ‘Body’ and ‘Girlfriend’--but there’s more than enough evidence here that MNEK is a potent force in his own right.

A mixed bag.

There’s a real cleverness about the contrast between these very modern themes and their throwback sound, a sparklier take on garage-flecked indie that proves wildly catchy.

Capturing the highs and lows of womanhood via catchy pop, ‘Sorry I’m Late’ may have been a long time coming (see what she did there), but it’s worth the wait.

Four is better [than debut album, Silent Alarm]. Or at the very least as good.

As a debut, Melbourne is about as honest an expression as it comes.

When compared to each members’ regular output, there’s not a lot to take seriously here. That’s quite all right though.

Louis' new-found confidence oozes from the songs here; it may just be his first steps in the quest to emulate his old rock 'n' roll heroes.