Crooked Wing is another accomplished, thought-provoking instalment from a duo operating from a highly distinctive position.

Vocals on The Vacant Lots’ albums are always an acquired taste, much like those of Newcombe’s in fact, yet this trait never seemed to hold back bands like Kraftwerk. It might prevent them from reaching heights that otherwise could be achieved with synthy brilliance such as this. ... So look past the vocals and enjoy.

While their vision may to many appear decidedly singular, the music itself is highly accessible and polished, and comes with a sense of being a carefully considered, fully fledged complete package.

So a collection like this is a timely reminder of what they've achieved; from the cold, hard sounds of 604 to the futuristic disco of Witching Hour, Best of 00-10 is a comprehensive over view of endlessly interesting band.

Her combination of interior logic and the immediacy of improvisation is also captivating. This is deceptive, singular and highly creative music.

Amazones Power is a frequently thrilling call for change, a demand for action. It’s also a successful album on multiple levels that hopefully will help bring improvements to the lives of those in need.

What she does best is create that sense of urgent euphoria, and that is all still present and correct on The Comeback Kid.

In its own way, the album is as tied to a central concept as his last few recordings, but here that concept is presented in a more expansive, more enquiring way.

Love From London is by no means an Earth-shaking or life-changing record, but its virtues are plentiful, and so well balanced that its title is by equal measures sarcastic and sincere.

An album ram-packed full of top-notch melodic synth-pop--a triumph from start to finish.

Minor criticisms aside, however, Outer South is an enjoyable, relaxed album that contains some of Oberst's best work.

Long Black Cars retains a common sense of cohesive purpose throughout.

It sufficiently moves their sound on from Zaba, while also successfully capturing the multifaceted nature of man.

There’s a serious attention to detail here, and that’s kept up for the considerable length of the album.

What Regan has unquestionably created is a landscape of wide-eyed, sincere beauty that is very much his own, delivered with a poise that few of his contemporaries can match.

With barely a weak track to be heard, it all adds up to an album that sees Waxahatchee move up to another level. It’s the sound of a woman at peace with herself, and Crutchfield’s newfound serenity makes for a wonderful listen.

It is the work of a group of musicians finally comfortable in their own skin, with all the elements coming together in perfect harmony.

On this one, they’ve become a great band. It’s harder to take them seriously here, but perhaps that’s something they’ve never wanted. They’re more than content with being the class clowns, and we’re more than happy to have them.

This album will, at least in theory, open a new chapter in the band's story, but the songs--as well as being significantly more streamlined--manage to stir and move like never before.

It is certainly worth investing raw, unprocessed time in exploring.

To ears trained on western classical harmony, rock and roll, or even much of the jazz tradition, this will sound fearsomely complex. What is truly impressive about these three players is how confident and effortless they make it all sound.

When Megan moves away from her standard lyrical fare, perpetuating her beef with Tory Lanez on opening track Shots Fired or penning the poppy tune Don’t Rock Me To Sleep, the results are some of the best moments on the album, and if these aspects of her style had been explored some more it could have made for a more diverse LP, but Good News is still chock-full of catchy hooks, stellar verses and feisty attitude.

Like all of Wainwright’s music, Haven’t Got the Blues (Yet) will divide opinion, depending on whether the listener enjoys his style; but whether the listener agrees with him or not, they cannot surely be unaffected by his rich outpouring of love, amusement, scorn, wit, and above all, spirit.

Unmistakeably the best of Ryder-Jones’ albums to date, West Kirby County Primary is cathartic, sometimes desolate, but always raggedly enjoyable.

Although this isn't a flawless album, it will undoubtedly be a huge hit and keep many people company through the long hot summer months ahead.

All things considered, this is an impressive debut album from Rizzle Kicks.

There may not be a track that grabs you by the scruff of the neck like 7/4 (Shoreline), but Remember The Humans reminds us that on the rare occasions that Broken Social Scene release a record, it remains a moment to be treasured.

Whereas his debut self-titled album was a perfectly serviceable slice of alt-country, it wasn’t really distinctive enough to stand ahead of the pack. That’s all changed with Make Way For Love which, at times, contains some of the heartbreakingly beautiful songs you’ll hear all year.