Overall, Clash The Truth isn't so much a departure from Beach Fossils' playful innocence as a more a mature statement of intent documenting Payseur's coming of age as both a musician and songwriter.

Out Of Touch In The Wild feels like an album album, with the tracks naturally feeling their way to one another, but with enough stand out moments to show how far Dutch Uncles have progressed since they recorded that debut in Germany.

Ultimately where Jamie Lidell falls down is its lack of originality or sense of emotional honesty.

Despite its abrasiveness, You’re Nothing is resolutely conservative in its insular aim of pleasing the only audience that matters: Iceage themselves.

This ultimately is Untogether’s crowning victory: despite being mapped by its lack of psychological surroundings, this firmly inward-looking record transports you head-first to Blue Hawaii’s special place, a serene vista where alien syllabic whimsy feels genuinely spiritual, and fuck-giving is most strictly forbidden.

PVT still frequently show flashes of promise and brilliance, but soon undercut themselves through the poor balance between vocal and musicianship.

Honeys is a savvy, all-inclusive slab of disenchanted rage that doesn't hold back at any juncture.

The album’s major problem, more than anything, is that such a flabbergastingly brilliant end stretch hints at a better record that might have been, a furiously abrasive set of drum’n’gaze (sorry) that would have completely blindsided all of us, rather than the enjoyable grab bag of dreamy old and in yer face new that we in fact get.

Ultimately it is telling that the best song present here is a re-imagining of a previous smash. But leveling criticisms of unoriginality or lack of innovation and evolution at bands like BMFV is almost redundant. They're judged on the size of their hooks and in that department Temper Temper largely delivers.

On the whole sometimes the production frills work and other times they sound a bit too much. But either way his solid songwriting skills and lyrical wizardy remains and makes sure that when you listen to this, that you're not gonna anywhere else except in Deez land.

There's an inner beauty--no, honesty--to this debut.

The result is a bright and breezy album that’s easy to like, even if Dawn’s palpable enthusiasm does occasionally tip over into being cloying.

Thanks to the similarities in vocal styles, it’s easy to compare Widowspeak with other acts around, and it’s fair to say that there’s plenty here for fans of such acts to admire. However, there’s also more here for anyone willing to look deeper, especially if you’re fond of a little country-tinged drama with your reverb and wistful vocals.

Not only is Holy Fire utterly sublime, it’s a record that’s been six years in the making.

They may have churned their sound into something new, but their heart and their character is still very much in the right place, and that’s what makes Heartthrob more than just a brilliant pop album, it’s unarguably a brilliant Tegan & Sara album and it’s very, very close to being perfect.

We Will Not Harm You is well-crafted enough that the looping repetition is pleasing, with the dominant bass thwacking out grooves which just play on and on.

Conduit is short, vicious, angry and their most singular album to date but this lean and stripped down approach isn't a total success.

This is music that challenges and provokes.

Matt Caughthran's vocals have never been stronger, more melodic or capable of holding centre stage. Yet coupled with the slicker sheen to the LP (self-made in their new home studio) it has pushed some of their material into territories traditionally inhabited by the totally underwhelming.

News From Nowhere is an album which blossoms over the course of its running time.

Not all of the tracks hit their mark, and this is a far cry from the standard of much of E's earlier material. But it is nonetheless a good record.

In terms of vulnerability, adrenaline-overdrive and frivolous riffing, however, II is firing on all cylinders.

Overall, Regions Of Light And Sound Of God is a good rather than great album, lacking some of the spine-tingling dynamics of My Morning Jacket but delivering a consistent vision than many of their efforts.

Despite the heterogeneous nature of the album as a whole, Patton is never out of his depth, even when paired with unusual collaborators.

Although not quite possessing the gobsmacking "WOW!" factor of Veronica Falls' debut, Waiting For Something To Happen is an often revealing and utterly compelling follow-up that is sure to feature in many an end-of-year best of list come December.

There are still places to go, but this is an early contender for album of the year.

The music frequently bludgeons the listener into wondering why the song wasn't cut dead about three minutes ago.

Collections is enjoyable, in the way that ready meals can be enjoyable, with their sugar hit and empty calories, their disposability and easy consumption.