Going, Going..., the group's ninth record, is full of bizarre twists and turns that make it unlike any album they have released to date.

Olsen’s most ambitious album yet. Taking a more polished--though not straight-up glossy--approach, Olsen sounds more vulnerable for having made her vocals more central to the mix.

Divorced from the accompanying visuals, the exercise proves less engaging overall. In context, however, it is legitimately hypnotic and soothing, as if Bob Ross was reincarnated with woodwork on the brain.

Uninterested in zipping from A to B, it is instead a moving, repeatedly devastating depiction of an artist who is still trying to figure out his place in the world as he moves forward in life, ever mindful of what we leave behind, the things said and left unspoken, the good and the bad that comes with trying to make it all make sense and the sobering knowledge that we cannot go back.

The Divine Comedy are, 26 years on from their debut and six on from Bang Goes the Knighthood, making a kind of pop music a million miles away from anyone more likely to touch the singles charts (assuming those are still a thing). It’s good to have them back.

Trick is comfortably Jamie T’s best album so far, showing off every element he can and touching many bases without ever feeling like the contrast is jarring.

False Readings On is a calmer, more pensive, and more inward-looking affair than Cooper’s recent Inventions releases.

On Glory it is something to celebrate; the sound of a Britney Spears much more confident and comfortable in herself than she has seemed in years.

Ultimately it’s a response to sugary summer pop songs that won’t keep you warm then the sun goes down.

Skits and the odd miss accepted, and the Anonymous Nobody… is a grand achievement. Regardless of whether their next project requires outsourced funding or not, De La Soul fans worldwide will just be happy if the group can keep up these standards while never forgoing their wayfaring creativity.

his is The Veils as you would expect to find them, untroubled too much by changes to their formula. And that’s just the way that most of their loyal fans would probably want it.

An hour of music which can be moving, transcendent, invigorating and relaxing all in a matter of minutes.

Since her emergence as a solo artist, Hannigan has been drawn to all things nautical. On her third full length, she continues that fascination, treading new water and exploring new routes on many of the tracks, but still ultimately in search of new shores.

It is an impressive work but sans context, it largely will pass a casual listener by as merely a moody and atmospheric soundtrack without much for them to sink their teeth into.

It is not his finest album, or the one that will win him the most new fans--unlike Colours of the Night--but for anyone with a love of modern classical and a taste for the expressive flavours of the piano it is a very worthwhile listen.

It’s an astounding record from a trio still at the most embryonic of stages. We’ll go on record and get this out there now--it has the potential to be a world-beating album.

There’s a sense of being 'finished' after every single track, and it often feels like you’d get the same experience but quicker listening to any single track individually instead of the album as a whole.

While the revved motors and displaced robot pop satisfy your expectations, you find the virus progressing too quickly for you to evaluate its efficiency. A blue bar at the bottom tracks the virus’s progress to completion; you’re quite alarmed to see this already halfway full, as if someone twisted the fabrics of time in your ears.

Slow Club wear the album’s mood well, and its consistent feel gives the whole record a lovely cohesion, but there are some drawbacks to the approach.

No alarms and no real surprises, yet the execution carries Crystal Castles 2.0 through.

65daysofstatic have captured the sound of space as one of excitement and exhilaration: whether you experience it in isolation or as part of the game it is certainly one worth listening to.

It’s possible it just too hard to produce a record of straight classic songwriting in an era that has heard it all, but Blind Pilot make a good stab at it.

Overall, Encore is a worthwhile listen. It obviously suffers from many of the problems that dance music albums generally suffer from but it does well to show off Snake's ear for hooks just as well as his ear for drops.

While 25 25 is an uneasy listen at first, it's worth the perseverance even when giving up seems like the only plausible option.

When he steps away from alt-country-rock (or whatever you want to call Jeff Tweedy et al) Cline tends to veer towards a more experimental jazz sound and this is where Lovers really surprises.

The fact is that Boys Forever rarely changes pace. Small musical variations in tempo or atmosphere such as on ‘Things’ and ‘I Don’t Remember Your Name’ become ultra significant breaks from the Boys Forever norm and I would have liked to have heard a few more of them. However, the shimmery diamondness of the album still remains.

Rattle’s greatest accomplishment isn’t to just write music for drums, but to write songs that capture AND transcend this modern era we live in.

The all-over-the-place sounds don’t remotely go together, and not even in a good way.