Local Natives have made a stunning debut, feeling simultaneously familiar and challenging, and presenting a sweeping collection of tracks that are at once cinematic and sonically lush, swelling and serene.

Elinor Dougall has obviously taken her time to get this album sounding just as she wants – Strange Warnings and Poison Ivy first appeared on 2013’s Future Vanishes EP – and, on the majority of these cuts, that time has been unquestionably well spent. It doesn’t all work. ... Stellular finishes strong, however.

A remarkably assured and instinctive piece of work, one that speaks of good times on the dancefloor while not being afraid to throw in more poignant and affecting emotions, all wrapped up in clothing that falls nicely on an ambient blend of disco and house.

We knew Sky Larkin had potential. It’s been more than followed up on with Motto, surely one of the best albums of the year.

It is unashamedly cerebral music, but this is a band now finding that they have a powerful beating heart as well as a head.

He has made five albums, at least three of which are very fine indeed. But concern was growing that he might have peaked creatively. Bleeds refutes that notion emphatically, within a minute of the start.

With Chapel Perilous, Gnod have managed once again to create something that is both liberating and, at times, terrifyingly oppressive. 


It may not have the immediacy of old Walkmen songs such as The Rat or Angela Surf City, but these stories of New York characters have a charm and subtlety all of their own, which is rewarded by repeated listening.

The Pineapple Thief’s latest work is a positive reflection of prog rock in the 21st century asserting, after all this time, how underrated they are. Let them be a mystery no more: on Versions Of The Truth, this band bear the torch of prog rock, and it burns still.

The lyrics speak tellingly of life experience, but the tunes don’t quite have the pizzazz to match the singing voice. Yet their turn towards the dancefloor is expertly marshalled by Rodgers, whose production tweaks are always tasteful – and this return bodes well in the long run. If they can just add the winsome melodies, The Zutons will be right back up where they deserve to be.

Like its predecessor, Kiasmos II could be unkindly described as background coffee table music, as it is predominantly quiet and unobtrusive. But while fireworks are few and far between, those who immerse themselves fully in the sonic experience will find it utterly enchanting.

It’s a truly absorbing listen, almost effortless. For a band that have been through so much turmoil, they convey so much beauty.

Both qualities [her immense talent and charisma] are on ample display on Hairless Toys.

UGLY certainly isn’t a pleasant listen, and at various points it’s too extreme to be categorised as rap or rock, but many of these tracks are brilliantly executed and their emotional power and impact put Slowthai in a unique position.

At the end of this quite exhausting album, it is hard to ascertain whether anything has been resolved. However, if this is what Krug needs to move on, then Julia With Blue Jeans On is a testament to the healing power of creativity.

Crystal Fairy is a solid and impressive album from start to finish.

Street Worms is a fine example of how to subvert expectations, and it’s a fine example of how to do ‘punk’ in 2018.

La Vita Nouva is a deeply personal and cathartic album and is certainly one that requires more than one listen. Each time will lift you up into a higher state of consciousness. A dramatic and unbridled return to a new beginning.

The result is her most satisfying and unified album to date.

It’s an album that wanders a lot, but every now and again can hold you spellbound, much like Hersh has been doing her entire career.

Fallon's understanding of the redemptive power of music elevates American Slang from being a good record to a great one.

Music for The Age of Miracles is an excellent record and a level above Minotaur, without scaling the heights of their first four albums. More 2009’s Bonfires On The Heath than Suburban Light, perhaps.

There’s no real new ground being broken on Agora, but it does make a good entry point if you’ve not been acquainted with Gilberto’s music before.

On this outing, greater rewards arrive from a more engaged, active approach to listening, one that helps ensure that nuances and small details are appreciated. It might not ultimately have quite the impact of their earlier work but it still has much to offer, showing them still capable of responding to new creative surroundings and edging forward with small refinements to their sound.

It may last just 25 minutes, but One Million Love Songs doesn’t feel half-sketched or incomplete. On the contrary, once it’s finished, you’ll just want to go straight back to the beginning to wallow in this strange, otherworldly gem of a record.

In such a hugely enjoyable and compelling set, the weaker moments are few and far between.

7 might have been a gamble for Beach House then, but they don’t appear to have lost anything. What remains to be seen is whether they stay on the same path of progress with their next record.