By the time the closing track, the swaying, communal singalong of Lord Have Mercy, comes around, you’ll be mentally reordering your list of top 10 all-time Sparks albums. MAD! is the sound of the Mael Brothers defying age and still doing things their own way.

Let's Wrestle have certainly crafted the sophomore album we all expected from them. There's little, beyond even that Albini attachment, that strives beyond the aspirations of a general set of rickety punk tunes--but at the same time, everything here is working wonderfully as intended.

There’s still an overriding humour behind everything bis do, making data Panik an intensely enjoyable album.

As good as her earlier folk-rock songs were, this new direction is one that suits Rose extremely well.

The chants, pipes and Afrobeat guitars might be facades, just like the masks and robes, but it doesn’t matter because the music underneath has real heart and soul.

The Best Day is neither derivative nor weak. In fact, it’s another enduring release from an always reliable rocker.

Future Politics is another impressive step in the evolution of Austra: while the band’s second album was a move towards shiny, commercial pop, the follow up sees a more sparse, fragile collection of songs.

Kennedy's eclecticism becomes its charm. [Jun 2021, p.86]

There are moments of beauty here that others will struggle to touch this year.

The music is happy and content, the sound of both success and the comfort of being established enough to make an album entirely for yourself.

It seems to be a study of gender, sexuality, innocence and sin, and ultimately identity; and it feels literary, in the way it deliberately and self-consciously turns over its themes.

In short, Pavement's influence will continue to be felt for years to come, and this compilation admirably explains why.

Lion City is a strong, viscerally stirring album and a true highlight of intercultural awareness in the contemporary music climate.

For an album that was certainly not recorded spontaneously, Desperation sure sounds spontaneous.

Caroline Rose’s most personal album to date which, while it may not have the immediacy of Superstar or Loner it will, given time, prove just as emotionally affecting.

The broadening of their musical palette here has offered up multiple directions for the duo, but they still retain the distinct Girlpool vibe on their most accomplished album yet, one augmented by a rare magic.

Loom is an intense record, full of feelings of loss, confusion and angst. It’s also an early contender for best electronic album of the year.

A beautiful album that proves that sometimes more is more.

All of this is packaged up in black and white watercolours commissioned for the album and lyrics booklet from Antony Gormley. The music is just as beautiful.

As the title of the opening song goes, Parquet Courts are swiftly becoming masters of their craft on an assured debut album brimming with unimpeachably great songs.

It’s a lot of fun, for band and listener both (not always the easiest of tricks)--a ‘concept-less concept album’ shot through with just enough self-aware humour,

The Waiting Room is another immensely satisfying collection from a band always able--even after personnel upheavals--to explore multiple styles while remaining ineffably themselves.

Some people will bemoan the lack of a real crossover hit (there’s certainly no The Noisy Days Are Over contained on Open Here) but it’s one of those rare albums that you just know you’ll keep coming back to, time and time again.

Sonic landscapes shift around behind Deschanel across the length of the album; as tunes introduce elements of pure indie pop, old timey slide-guitar country, rattling tin-ally piano, and light rock, the singer keeps her cool and holds everything together throughout the course of Volume One.

Perhaps one of the telling strengths of LAX is that despite all star guest appearances from the likes of Ludacris, Travis Barker, Nas and the aforementioned Ice Cube it is very much The Game's album.

There may not be anything new or massively revolutionary to attract new disciples to the Vega cause, but Tales From The Realm Of The Queen Of Pentacles is another reliably excellent Suzanne Vega album.

This is an album that works incredibly well turned up loud.

Mental Wounds Not Healing is a good launch point for those eager to discover both The Body and Uniform. It’s also one of those rare collaborative efforts that perfectly combines the aesthetics of everyone involved.