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.