It's not an especially coherent set; because wonderful as most of these songs are, they'd have been better if the perfectionist band had finished them properly.

This is a promising record from a still young UK band who have, with their second record, somewhat mastered their craft and it will be exciting to see where they go next with it.

Mirrorring have created an album that never coalesces, in which it's difficult not to remain conscious of its parts, wonderful as they may be.

Hesketh can write a damn good pop song, and whether that’s what caused the initial buzz, it's something hard to deny when presented with the cold, hard proof of Hands.

Take Care, Take Care, Take Care is the auditory equivalent of a strawberry ice-cream on a sunny day and, however many times you might have tasted one before, it still counts as a treat.

Circles revels in its consistency if nothing else, and while the element of surprise is something one is unlikely to be greeted with by a Moon Duo record, they make business as usual seem like an enjoyable pastime rather than a laborious chore.

Atomic is a soft reset that will allow the band to move in new directions in the future. Its curiosity is infectious and immensely exciting, and it sounds like the result of a group refreshed, hungry and eager to grow.

This still isn’t for everyone, but it’s sounding less like a side-project, and more like a super-group.

There’s a sense of immediacy and even unpredictability in the most restless moments on Everything In Love, which saves the album from being a rather static and defiant contemplation of The Carters’ victories.

It’s a brave step to put down the filters, and embrace organic sounds, and one that is largely successful. However, much like discovering the inspiration of his chosen moniker (apparently he just really likes having a bath), some of the magic is lost in the process.

Newman is easily distracted and that can make Dark Matter a confusing listen at points, but when he gets it right, you’re reminded of what a singular talent he is.

Brill Bruisers--like most albums--isn’t as good as Mass Romantic. But its qualities are manifold, and it is a delight to note that after some 15 years together, the New Pornographers seems to have stopped being a supergroup and turned into a band.

When the band truly comes together, there's a lightness of touch and a winning intimacy.

By providing himself with a narrow set of parameters, he’s discovering what he’s capable of in a less-than-optimal creative environment, and if Intermission is anything to go by, a protracted lay-off from Ghostly releases whilst he pursues other avenues would be a real shame--nobody’s capturing that midnight mood quite like Shigeto at the minute.

The collection and especially the new songs have the feeling of a last hurrah.

As debut albums go--and while compiling the record the band disposed of nearly thirty songs--this is a fine, upstanding introduction to the tormented world of The Airborne Toxic Event and one that vivaciously whets the appetite in anticipation of what might come next.

Ty Segall and White Fence haven't reinvented themselves, nor have they revolutionised garage rock, but Hair stands as a welcome reminder of how enjoyable guitar and drum music can be both to play and to hear.

The result is a collection of pop songs with a good sense of both depth and dynamics.

Although perhaps a bit overbearing at 11 songs, Bachelorette is a worthwhile collection of distinctive orchestrations that should propel Annabel Alpers even further into the limelight.

What makes a person charming--songwriter or not--is that adaptability to a situation. It’s the sort of malleability we lose as age hardens us or we simply get stuck in our ways. But Eugene McGuinness hasn’t lost it yet.

R Plus Seven can be confusing, jam packed with samples and contrasting elements, but it's never overbearing. At the same time it is hard to put your finger on exactly what is appealing about it.

.5: The Gray Chapter stands tall; not just as tribute, but as vital catharsis.

No one will begrudge him returning to his day job with Grizzly Bear, but anyone who hears In Ear Park will be hoping he takes another working holiday as soon as he gets the chance.

With The Lookout, Veirs has synthesised both these personal and political feelings into something that can sometimes feel timeless, offering a beacon to hold in the darkness.

Following a good few listens, Up From Below's ebb and flow is replaced with definite peaks and troughs, leaving such highlights dulled down.

It’s definitely an accomplished one with plenty to recommend in its sonic traits.

It’s a--for the most part successful--attempt to reach across divides in a world which seems more confusing by the day, a battle against the increasing entropy which seems to be seeping in at the edges of all our existences.

Gioele Valenti and Nicola Giunta have created an album that is not a gale, or a draught; it is an engaging, sonic zephyr.