Dead Cross is basically a straight up adventure into Hardcore. The result is an album that clocks in at under 30 minutes and doesn’t just sound dead cross, at times it’s positively furious.

With great pop hooks a-plenty, Daydreams And Nightmares amply demonstrates that growing up doesn't always have to be boring.

After almost 20 years together, they’ve produced a record which is both an essential addition to their back catalogue and a hugely rewarding starting point for anyone who has yet to become familiar with their work.

Lyrically, gone is the amusing petulance, and in its place are tales that tug on the heart strings by creating patchwork mind pictures with words. And when Los Campesinos! hit that sweet spot, the results are stunning.

Those who have followed Warp and Nightmares On Wax since their inception will be reassured that all is well in both camps. If anything Shape The Future is one of George Evelyn’s finest achievments, and is all the more affecting for its refusal to be dimmed, keeping a zen-like stance in the face of adversity.

Apparently the band's sixth studio album is their first to be written from electric guitar since their debut Good Feeling, and this shows strongly in the end result.

Out Of Control is, generally, yet another excellent album from a group who may have risen from a lot of people's 'guilty pleasure' to becoming full-on national treasures.

his is a mid-career highlight from one of the finest lyricists and sonic set-dressers this country has produced. It’s a little bit silly, a little bit raunchy and a whole lot of fun. ... Simply put, JARV IS… a winner.

With Other Lives, there’s always something interesting and exciting going on in their songs.

An album which sounds like the beginning of a new chapter for the duo.

This is peak Metronomy, Mount and his charges at the top of the game as they move with pop music’s ever-evolving sound.

Star Eater’s Delight is Neale’s best, and most accessible, work to date.

There's something appealing about their brand of music with its light, sunny harmonies and direct choruses.

Dear's tempos here are mostly slow, never rising above moderate, and the result is an anxious but exhilarating journey through the night.

G_d’s Pee AT STATE’S END! might follow a certain well worn path but still sounds magnificent, especially at volume, pulling you in like a rip tide.

At times, the low-key, downtempo atmosphere may threaten to overwhelm, but Nocturne is an album that both solidifies and enhances Wild Nothing's growing reputation.

The most pleasing element of the album is those earlier demos floating around the internet, have for once been well produced. Songs such as Bandits now have an added edge with more strength, depth and substance to the original foundations.

Cursing The Sea is an enjoyable listen from start to finish; whilst not possessing anything in the way of a number one single, the rawness and lo-fi feel will appeal to many.

Richly melodic and beautifully performed, A Piece Of What You Need deserves to be a big commercial hit.

There’s a definite ambiguity in these songs that means that it is possible to find both the beauty and the beast depending upon how they are approached.

It's a bold, inventive record that bristles with energy and passion.

awE naturalE gives us a beguiling glimpse of an unfettered talent that most certainly is promptly, and most satisfactorily, on track.

These worries are dressed with music at peace with itself and its surroundings, making as much resourceful use of digital and electronic possibilities in an intimate studio setting as previous album Frontier Man did with an orchestra.

By and large though, this challenging, multi-layered record requires complete and sustained immersion to properly appreciate its full range of ideas and textures.

Although the majority of the songs only hang around for a minute, Dead In The Dirt are quite adept at changing tack mid song, no matter how ridiculous it might be.

Try it once and you'll be back for more--even if you're a long term convert to the beautifully sculpted world of Apparat.

After such a traumatic few years, it’s a minor miracle that Silberman is now back in The Antlers fold and sounding as good as ever. What’s more, for a band who made their name playing epically sad, often emotionally traumatic songs, Green To Gold sounds positively sunny and mellow in comparison.

She may have cut a slightly different path than she hinted at on Dead Flowers, but make no mistake: Caitlin Rose is the best thing to come out of Nashville in a long damn time.