The experimental edge that Wainwright has introduced with this album bodes well for the future--while she may not be writing operas like her brother, she remains one of the most intriguing, honest songwriters around today.

There’s a danger throughout Marigold of looking too deeply into every lyric, and of searching for meaning in each song. Those who come to Pinegrove without knowing the backstory will find an album of pleasant alt-country that may not hit the heights of their back catalogue, but feels like a tentative step back to normality.

The record she has delivered to kickstart a new decade is a career defining release, and from a pop star who is firmly back on top of her game.

Minor nitpicking aside, this is a Beach House record that sounds, above all else, like a Beach House record, and we should be glad that this house was left standing and not swept away with the dreampop tide.

Sure it's self-indulgent, but sometimes indulgence is no bad thing, and that is certainly the case here.

The EP manages to stand alone in its own right, with the seven pieces here each offering subtle developments on that wonderful album's sound.

Fine Fascination is a very listenable debut.

Only Revolutions is just the kind of record to turn a cult following into a fair market share of the collective rock 'n' roll unconscious.

Some bands are stronger on record, while others go up a level when performing live. The Unthanks are equally compelling in both settings.

It doesn’t quite hang together in the way that an official Harcourt album does, acting instead as a kind of taster for things to come. Yet as aperitifs go, it’s pretty satisfying.

With this album, Worden seems intent on muscling in on the territory of innovative but hard-nosed American mavericks like St Vincent and Dirty Projectors. Ultimately though, This Is My Hand falls some way short of emulating the standards of those acts.

Fears Trending is the musical equivalent of a cross-country run on a cold, wet winter’s day: challenging, occasionally a bit of a trudge but, ultimately, rewarding.

A guilty pleasure for some perhaps, yet one well worth indulging.

Aforger is one of 2016’s most impressive albums and will most likely be seen as key in years to come when looking at Douglas Dare’s development as an artist.

There is a strong sense of enjoyment in the nooks and crannies of these tracks.

Even though Falco, Haliechuk and their Hairpins cohorts appear to be cramming in influences from almost everywhere (acid house, new wave, funk, punk, psychedelia and more), the whole album is incredibly coherent, lucid, and most importantly it’s the of thing that might just define a summer spent outside. Assuming that’s ever going to be possible this year.

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.

It’s astonishing how much ground gets covered on Good Luck, Seeker. Sure, not every track is likely to resonate with every listener, but that’s all part of the charm: it’s a remarkable achievement that sits near, if not at, the top of the band’s entire catalogue.

Third albums can be tricky, but for Fogarty, this is a challenge he grasps with both hands, coming up with an all-encompassing record that explores many musical possibilities.

At times, it seems to make more sense as a collection of EPs, as it sometimes doesn’t hang together as an album as coherently as it may do. Yet there’s still much to enjoy on this mammoth collection, and on tracks like Don’t Touch That Dial and Complete Me, Django Django have produced some of their best work to date.

Although she’s not quite there just yet, with a more stringent editor, and a producer who could get the best out of her (Max Martin would seem a lip-smacking prospect), Maisie Peters is undoubtedly on her way to producing a truly great pop album.

Peaking Lights' music is slow to reveal itself and unfolds gracefully, at its own pace.

Nothing here quite matches the excitement of Feel It Break highlights The Beat And The Pulse and Lose It (although Home, Forgive Me, Painful Like and Annie (Oh Muse You) all come close). But this doesn’t stop Olympia being a sizeable step up from its predecessor and a fine album in its own right.

[A] glorious album, that is full of both gravity and levity, wisdom and beauty, and that is, most of all, infused with the honesty and humanity that make of it such a triumph.

te. For the most part Strangers succeeds because of its strangeness, but when that strangeness slips, the album as a whole does too.

Man Made suffers from too much material, not enough editorial oversight, and not nearly enough inspired composition.

Anyone looking for another 'Hurricane' will be disappointed--but, for sheer eclecticism, the record hits a number of highs.

If LL was aiming to re-establish himself as a living legend in the rap scene, THE FORCE accomplishes this in spades as he sounds as fired up as ever. All he needs is a bit more polish.