The point really, as it is with all of You Can Have What You Want, is that regardless of what era Papercuts are paying (unintentional) homage to, they always sound relevant and never out of step.

When Various Cruelties gets just the right balance, the sound is beautiful to listen to, and would be perfect for soundtrack for summer.

I Was A Cat From A Book represents a significant return to form for James Yorkston. His music is more inventive, instrumentally diverse and accessible than ever before, arguably straying outside the realms of pure folk into the outer confines of indie-rock for the first time.

He’s crafted something braver, harder, and worth a spin. White paintings be damned.

Both Roedelius and Schneider have developed their own language and way to communicate with each other through sound. It’s this symbiotic and serene balance that makes listening to Tiden a largely enriching experience.

There’s a darkness that runs through this album, but it’s almost always offset by something positive.

Dave Gahan’s emotional input is never in doubt, but despite some excellent production – and fine backing vocals – it is kept at a distance at times. Seen live, however, this set should be quite an experience.

A strange end possibly, but The Dusted Sessions seeks to encapsulate the essence of the vast landscapes the band experienced and does so quite incredibly.

This is not a world-changer, but it’s exciting, and great fun.

Is Forever Neverland the most mainstream indie album for a while or the most indie mainstream album? With hits like these, songwriting as accomplished as this and production as tight as this, it surely matters little either way.

Pretty, simple songs which nevertheless were absolutely littered with hooks.

As they sing in the closing track Fresh Meat, “the past is catching up again”, and maybe its that sense of time moving so quickly that makes this chaotic, exhilarating and often perplexing album such a compelling listen.

For now, this is a hypnotic, well executed, if not altogether thrilling collection.

Although none of the tracks on Welcome 2 America stand up to Prince at his mid-late ’80s best, there are some songs which come close.

The influence of new blood mixed with Paramore’s own distinct sound has created a vibrant, melodic record with sing-along choruses, and although it flirts with the softer side of the rock spectrum it’s still one ballsy album.

It's hard to know where you stand with it. There are moments where the listener is engulfed in it all, but others when it feels cold and detached.

In their rousing live shows, Benin City are better able to keep up the momentum and present a case for the preservation of London’s club scene, but Last Night is still a fun late-night journey around the boroughs.

Its inviting atmosphere, the beautiful playing and gorgeous harmonies make for an approachable, if not wholly accessible, record.

Working best with eyes closed and a fertile imagination, Feels plays like a dreamscape of interconnected happenings, some coincidental, some intended, that's as dense as it is languid.

Futuristicaly Speaking is by no means a perfect album, at times it seems overlong and in places too similar in tone, but it is a solid album that should see Yo Majesty making quite an impression.

Phase Zero might not be as rough around the edges as its predecessor, but it’s still a strange and unusual beast. It is debt to its influences at times, but also idiosyncratic and mysterious enough to stand on its own two feet.

With five singles sitting and waiting, Aphrodite is the record she needed.

The album works best when they pick up the pace, cranking out two minute gems like My Mind Is Like An Atom Bomb and They Kiss Like Humans, with its genuinely disconcerting backing bellows.

This self-titled final album, as you might well expect, sounds exactly like Megadeth.

Insistency and repetition are perhaps Oozing Wound’s most effective weapons.

Unlike anything else on the album, Clear Spirits stands out, with its submerged melodies, insistent basslines, and cascading guitars. If nothing else it proves that Les Savy Fav can still be vital and are still writing challenging, inventive material.

The tracks are brighter, bolder and more immediate than anything he’s done before and thematically they aim higher also.

Horse Thief will inevitably hit the jackpot, and Fear In Bliss is a mighty step in that direction.

While Slow Summits might not set your pulse racing it’s a fantastic example of a band throwing themselves into making a record as lush and pretty as they possibly can.

It may be lacking in genuine standout moments--the infectious choruses from tracks like Come Save Me, Man I Need and Uncertainty are noticeably absent--but as an overall listening experience, it is a fascinating journey.

Overall, there aren’t enough risks taken on Love Letter For Fire to make it a truly outstanding album; it’s a very pleasant, comfortable journey rather than an especially memorable one.

Though undeniably powerful, Desperate Ground does become a bit monotonous due to the lack of variety of mood and change in pace.

Occasionally you get the impression that she’s trying a bit too hard – Bed Chem attempts to make a filthy pun on the word ‘camaraderie’ that trips up over its own unwieldiness. However, there’s a lot to enjoy, even love, on Short N’ Sweet.

Perhaps it's fair to say that sometimes it all sounds a little too comfortable for, erm, comfort (the line "growing old, it's hard to be an angry young man" is pretty telling).

Featherbrain is another solid album from the unassuming Norwegian, even if it lacks the direction and cohesiveness of her previous offerings.

Whether there’s a concept behind it all or not, he again demonstrates a knack for writing in a variety of styles while sounding uniquely himself.

The soundfield on Tonight There Is Something Special About The Moon/ Jaki Księżyc Dziś Wieczór… is just too cluttered, whilst the tuning-radios-whilst-the-bath-empties vibe of Anti-Antiphon (Absolute Decomposition)/ Anty-Antyfona (Dekonstrukcja Na Całego) veers close to ambient cliché. Still, Regards as a whole is a rewarding, absorbing listen, and is liable to instigate an outbreak of searches for Schaeffer originals in obscure corners of the ‘net over the coming weeks.

The duo have set themselves up nicely in a burgeoning genre and whilst their likeness for monochrome isn’t exactly bright, their future surely is.

As down-to-earth and likeable as its creator, this is an enjoyable collection that mostly avoids the pitfalls of solo albums by members of successful bands that are still very much a going concern.

Transit Transit is a very idea-focused album, with each track a structure whose foundation lies in a very specific sound.

While Am I The Drama? isn’t perfect, it certainly has enough bangers to keep her relevant for a few more years.

She [Louise Wener] sounds more at ease in her delivery, and the knowhow is natural. On occasion with their less successful single releases you felt Sleeper were trying a bit too hard, but here it is refreshingly instinctive. The addition of more power to the lower end is very welcome too.

Neither virtuosic nor devoid of a sense of pitch, he achieves something equally important to both in terms of significance--believability.

It’s Olsen’s willingness to develop her sound that is really the most gratifying aspect of Burn Your Fire For No Witness, enticingly hinting at much more to come in the future.

This is a brave and hugely ambitious record, projecting far beyond the limits of most bands in their early twenties today.

Dance Mother is not, and is clearly not made to be, easy listening - it's an admirably ambitious rather than lovable record, and it doesn't reveal its secrets in a single listen.

While British Sea Power do occasionally revert back to the anthemic formula that worked so well on previous albums, on the whole, Machineries Of Joy is a more considered and composed effort.

Here, we've got an album that kind of sums up Yorn's journey; this scruffy batch of songs is as exciting as anything Yorn's done in the last decade.

GLA is by no means perfect and there are a few tracks that don’t quite reach the heights of the album’s brightest moments, with Missing Link and closer Mothertongue both struggling to hold their own. Yet it is hard not to be impressed by Twin Atlantic’s conviction throughout as they show what they can do with the shackles off.

Beatopia is an album which shows Beabadoobee still experimenting to find her voice – that doesn’t make it a bad album, rather a slightly uneven one. There are enough moments, such as the gently soaring See You Soon, which hint that she’s due to break out of her cult status and become a major star sooner rather than later.

Beast Epic is a worthy addition to the Iron And Wine catalogue and an example of an album that improves the more and deeper you listen to it.

III is not a record that makes too many demands on the listener’s attention: its instrumentation is calm, unintrusive and balearic, and the songs tend towards a slow evolution rather than a formal structure per se.

Although he may never touch the glory days of his heyday again, there are enough glimpses of his genius gathered here to satisfy.

It’s a strange album that is melodically approachable, but lyrically draining.

Kids See Ghosts overall is a good album, and leaves the listener with a much better impression than last week’s Ye and 2016’s Passion, Pain & Demon Slayin’, though it can be a frustrating listen.

Generally there's not too much straying away from the Nashville sound and Wagner's production keeps things sounding impressively full and remarkably fresh considering the age of the source material.

Plants And Animals can write good songs, but because they tend to be quite long and full of melodic meandering, they were better suited to their old acoustic style were the electric guitar was used sparsely to take the song elsewhere and captivate the listener. You can have too much of the good thing. But at times on La La Land, the guitar work is undeniably brilliant.

Whilst this isn't the album many may have expected, it should match their hopes in a different and, ultimately, fulfilling way.

Strange Weekend merits return visits, and it rewards close listening.

Pedestrian isn’t going to grab you by the throat or rip up trees, being both pedestrian in name and largely in nature too. But don’t let that put you off; the pace may be rather ‘foot off the gas’ but its subtlety is endearing, as is the vulnerability displayed by Bloom’s vocals.

Some may find it all a bit too intense, while long-term fans may be put off by the departure of their earlier, more pastoral sound. However, their ambition cannot be faulted, and when it comes time to look back on the band’s career, Vide Noir could be seen as a pivotal moment.

For a record that veers between hit and miss, there is a certain amount of charm and vibrancy that keeps one coming back for more.

It makes sense that the conceptual gravitas behind an album like this wouldn't have enough fuel for 11 songs (the originals of this scene weren't necessarily known for their full-lengths) but it certainly would've been amazing to see him pull it off. Specific, loving, authentic, but limiting, it may leave us wanting more--but there's no doubt that John Maus made the album he wanted to make.

Whether John Wizards’ debut album has lasting power is impossible to know, but for the moment, they’ve wholly succeeded in at least making something to appreciate.

In contrast to the potty-mouthed numbers that precede it, the song's ['Heartbeats'] starry-eyed optimism is contagious and solidifies Tilly & the Wall's status as an indie band with dance-floor aspirations.

The results are, predictably enough, a mixture of the great, the average and the bloody awful.

Here’s Willy Moon is an exciting debut from someone who’s trying to break the pop mould, several genres at a time.

Ripe is yet another strong offering from the UK’s most collaborative and consistent regional music scenes.

Seefeel is nowhere near the mountainous masterpiece of BoC's best records, but it's pulled off with a respectable professionalism. Richard D James would be proud.

It's neither an easy nor a joyful listen, but tolerate the unrelenting gloom and it is never less than absorbing.

It’s all very sedate and relaxing, and while that works beautifully throughout the album, sometimes you just want to hear Regan turn it up a notch. Yet, maybe that’s not the point – it’s possibly Headphones that sums up the album’s ethos, a song about being literally wrapped up in music, and it’s that immersion that O Avalanche is best experienced in.

In short this is a album that you put on for instant and disposable thrills.

Working with producer Chris Coady, I Break Horses embrace the power of slowing things down considerably. Many of the songs rarely get as speedy as a trot, and indeed, the opening track Turn, takes a good nine minutes to slowly detail a dissolving relationship. This, then, is music to get lost in, even when the content is at times worrying and dark.

An envelope-pushing record, admirable in its ambition even when the thread gets a bit lost.

There are a couple of occasions when Goldfrapp's new relaxed attitude shades into lazy songwriting: Dreaming and Hunt are bland. But overall Head First is skilful pop designed for adults.

Throughout Friends That Break Your Heart, Blake is trying on different sounds, different styles, and producing some good music along the way, but he ends the record still unsure of where he should be.

Fans of her debut may be a bit bemused, but this is a new direction that could lead to great things.

Virgin may not be Lorde’s most polished album, but it’s certainly her most compelling and revealing

As well as this angrier, more focused lyrical approach, some of the arrangements on Raskit are pleasingly minimal.

Deciding which music you listen to in a world that now benefits from so much of it is another tough choice, but in the case of The Jacket, it comfortably feels like it could be a very good fit for many.

It may have taken some time to arrive but Two Trains is a strong personal statement that should find wider appreciation.

Soft Control is an album of neatly constructed soulful pop songs that anyone who likes the artists it references would enjoy.

Division Street finds Simon in the midst of finding his own voice.

On an album that clocks in at only a little over half an hour, the band's fight against the dark forces would seem to be one that they've come out the better from.

MGMT seem to have settled into their groove here, or more correctly their two concurrent grooves. On one hand, they seem able to produce easily digestible fuzzy pop songs slightly reminiscent of soft rock with what appears to be consummate ease; on the other, they can enter into all manner of sonic digressions with a noteworthy lightness of touch.

Surrounding contemporary anxieties within a collage of expertly designated snatches of melody, the record feels slight at first glance before eventually revealing its complexities to the listener, without ever suggesting notions of self-pity.

Queen Of Golden Dogs is Vessel at their most direct and bold, and the result is often overwhelming, sometimes confusing, and always fascinating.

At their best, they’re untouchably brilliant but on this outing they haven’t quite been able to maintain the elevated standard established early on over the course of the full album. Still, for fans of melodically charged guitar-pop there’s much to enjoy here.

Somehow, all this variety works well more often than not.

The second half of the album slows the pace somewhat and perhaps suffers after the thundering EDM and lyrical onslaught of the first few songs. ... Yet, for the most part, Innocence Reaches is a triumph of adversity and experimentation.

There are catchy and effective tracks here, though also a niggling sense that she has turned her considerable talents towards sounding more like everybody else.

This is awkward, sharp elbowed music that requires time and effort to fully appreciate, yet the complex textures and image-laden, thought provoking lyrics will gradually reveal themselves to those prepared to be patient.

Despite its flaws, it’s still an album that contains some of Dacus’ best work to date, even if the record itself is not her strongest. If you’re having withdrawal symptoms while waiting for the inevitable second Boygenius album, Forever Is A Feeling should sate you somewhat.

In short, it’s no puzzle to see that there’s no revolution here, and little is opposite to what you’d expect. It does, however, prove their sky remains far from blackened.

Colour Of The Trap may not spring any surprises but it's easy to get caught up in Kane's beguiling web of '60s sound.

The tracks are well made and good stuff, but on the whole Urban Turban feels a little too all over the shop to pack the wallop it deserves.

As ever with Amos’ more recent albums, it’s a bit overlong and some songs, especially in the album’s mid-section, float by without ever making much of an impression. ... Yet when Tori is on form, she still sounds as vital and exciting as she did 25 years ago.

Even during the times where her restless experimentation threatens to become a bit self-indulgent, you’re never far away from a blast of feedback to grab your attention again. It all adds up to a welcome return for one of rock music’s true modern icons.