Sisyphus is almost certainly the greatest hip-hop folk-tinged electronica with a deep techno pop groove record you'll ever hear.

Like many of the tracks contained therein, Geneva ends up far from where it began. But this is not a record defined by where it starts and where it finishes--it’s what there is to take in on the way that counts.

"In Reverie' is the record that sees STD (*snigger*) grow into their rather obnoxiously large boots and writing the sort of songs that sound less like =emo=tional pap and more like the nerdy, malnourished American cousins of Ash's biggest hits.

For what The Weeknd have produced, regardless of what genre it is or isn't, is a very good record.

Last Building Burning feels like you’d hope it’d feel, as a 36-minute rush of blood to the head.

Davies’ solo output would increase in the Eighties, yet like his day job band, the quality began to vary markedly. Here we have a snapshot of a time when he was at the top of his game--but overshadowed in the public eye by his brother’s more easily digestible (and, let’s face it, available) work.

In this latest instalment in the Late Night series, Holmes seems to have scored an origin story of sorts, in inimitable fashion, snatches of places and time woven among some breath-taking selections, passing through the present moment as observed with an eagle eye, before being let to peace until called upon again. 



An honest, forthright and accomplished LP.

Effortlessly mixing pop aspects with electronic undertones, hip-hop influence and the occasional R&B nod, she has taken everything that's wrong with today's chart toppers and turned it on its head--producing a record packed full of inspirational, intelligent monologues. It isn't half catchy either.

Imbued with a defiant refusal to succumb to external pressure or fall into the well-worn paths of similar artists who have trodden this road in the past, Sigrid has created a truly unique and recognisable debut record which I’m sure is a sign of spectacular things to come.

Brilliantly inspiring while intoxicated, Gala Mill holds its own well under sensible, concentrated scrutiny.

As a first achievement, the album it manages to inject a degree of zest into the songs from The King is Dead, jolting them from the somnolence which occasionally bogged their studio equivalents down.

Let's just call it an hour's worth of creepy, organic, nearly always-tension-building electronic ambience which certainly owes as much, if not more, to the hidden influences as the obvious ones.

Coconut, then, is a baffling, dirty, even exhausting listen at times, but never less than engaging throughout.

Overall, Process is a ferocious if at times delicately poised introduction to the incendiary world of Yvette, sonic adventurists extraordinaire.

In Time to Voices is aggressive, it is irreverent, yet also very ambitious.

It’s not often that a side-project produces an album that deserves anything more than a footnote mention. Loose Fur deserves its own cult.

Folk-rock, synth-pop, and more mature delves into the post-punk spectrum of alternative rock are all explored in What Chaos Is Imaginary. Each song is a new chapter offering insight into the multi-dimensional world that is Girlpool--and every one is more intricate, more complex, more captivating than the last.

As long as her music remains as bold, inventive and occasionally thrilling as it is here, long may that continue.

The Strokes will never get back the raw magic of Is This It? but, with Comedown Machine, they’ve cast a different spell entirely--one that’s almost joyful.

This is both the album Ufomammut completists will have been awaiting and the best album for new listeners to get their ears stuck into.

Destroyer's Rubies is an inadvertent Guide To Destroyer - every defining quirk, every 70's pop nod and ill-advised but forgivable falsetto is condensed and framed, only without becoming something fans of Bejar will have all heard before.

Here, all percussion devastates; it pounds away at the insides of Life… The Best Game In Town like a beast caged, packed ready for shipping. Let it loose and all hell’s coming your way.

It remains, at its heart and in the best possible way, a very small record of considerable charm. Warmly recommended.

You can’t help but feel that all those who have ignored Metric in 2009 are simply missing out. Fantasies is proof that you can make big event music that doesn’t make you die on the inside.

It’s the most complete body of work that Broder has ever put together, as Fog or otherwise, and bursts with creativity and commitment.

It’s from hearing the brand new tracks that Jungle’s burgeoning songwriting mastery is really showcased.

Overall, there’s as much room for the head explodeGIF in Monsters Exist; as there is in a WhatsApp group-chat post philosophy lecture.