Importantly for a concept album like this, the pacing is effective throughout with a good balance of light and shade, and because of this the narrative is consistently immersive and engaging.

Archie Bronson Outfit have hovered on the fringes of success for some time now, somehow never quite achieving the success that their critical acclaim would suggest they deserve. Coconut may be a bit too obtuse to change that, but it's a fascinating release; for those willing to explore beneath the seemingly obtuse surface, there's much to delight.

Uh Oh may not be an album filled with instantly catchy pop hooks, but instead is heavy on atmosphere and feeling. It’s an album to live inside, and although the general tone is muted, it becomes an affirmation that even the worst thing that can happen can be channelled into something inspiring.

The demos here may be cheaply recorded and lacking in sound quality but there is nothing lacking in the quality of the songs, which are seen in a new and very welcome light.

[Take Care is] a darkly funny and thought provoking song on which to end on, and a prime example of the diversity and humour that makes this quite possibly the best Madeleine Peyroux record in twenty years.

In Time To Voices is an extremely impressive and clever modern rock record.

Just as the early promise of the album looks to be coming unwound, closing track Pictures Of A Bird finds the band in fine form.

In terms of songwriting quality alone, Invasion Of Love knocks spots off the competition.

As an album No Treasure But Hope feels both familiar yet also a development. Emotional density to the lyrics pairs admirably with passionate, compelling music, and it’s varied enough to encourage engagement from beginning to end.

There’s something monumental about it. Something of Swans in the way they harness the brutality of instruments played at the edge of breaking point. The same apocalyptic destination. There’s also a similar use of repetition, looping sections over and over with bulldozing impact.

Whilst the musical content here is unlikely to shock or surprise Bjork's loyal admirers, it sees her continue to pursue her own radical and individual path with unshakeable conviction.

Throughout, there are salient reminders that Metric, despite never quite breaking big commercially, are experts in writing a memorable tune.

From the outset, A Situation is a black hole of an album: cold, dark, even nihilistic. It’s easy to get drawn into the music but it doesn’t offer any obvious exits or conclusions.

There’s a nagging feeling that they may still be a bit too obtuse for commercial success. The rest of us can just enjoy one of the early musical highlights of 2018.

It’s Billy Nomates’ best album to date, and testimony to the fact that whatever doesn’t kill you does indeed make you stronger.

Despite the album’s central concept and expansive nature, it is in fact a tight and cohesive work. There’s rarely any self-indulgence, making these songs in total Ufomammut’s most direct and accessible work to date.

Still heavy, still personal, but with the support in place. There’s something generous about it. That matters, especially in a genre so easily pulled into nostalgia as shoegaze.

Whereas some Avery albums have struggled to convince, the work here is fleshed out and artistically vibrant, the only noticeable weakness being an overly goofy ostinato on Lone Swordsman, though IDM had a few of those in its time. All in, Ultra Truth is an accomplished, moving record.

Galaxy Garden is a compelling exploration of Matt Culter's experiences of dance culture over two decades and its nods to the past, coupled with Lone's infinitely fresh and modern twist, make this one of the premier dance records of 2012 so far.

It is a well constructed, fulfilling work in its own right but what remains most impressive is how, despite never quite crossing over to major popularity, Teenage Fanclub are still able to exist in these challenging times.

It won’t be for everyone and there will be those who continue to look at Pete and Carl’s relationship with utter bemusement, but their songwriting prowess has ensured that the decade-long wait between albums has been more than worth it.

There’s everything from glitchy pop, dance tracks and emo rock on this album, but a key message, Smith’s unique vocals, and a tendency towards electronic earworms, make it a sonically cohesive work that has just the perfect touch of modern life to make us feel something, but with enough escapism that we don’t burn out from it.

There are moments of sheer brilliance on Ga... and due to the band keeping things short and sweet (the album clocks in at about 36 minutes) those moments are rarely far apart.

Oddfellows then is a fairly straightforward album, although it possesses enough personality and deftness of touch to bear repeated listens.

Slight quibbles aside, there is plenty of gold to be found here.

There are times when it feels sporadic and fragmented--with so many different elements crammed in to each track--but ultimately, it is the sound of a band pushing themselves further than they’ve ever gone before.

This record feels produced, whereas her first release had the feeling of a bedroom recording. She may have lost the kooky melodrama and charm that she enveloped earlier on, but I’m Not Your Man feels strangely right, if quite startling in its shift in direction.

While the aesthetic of Lust For Youth’s music may be dated on a surface level, good pop songcraft tends to become timeless once people have got used to it. And this self-titled album of theirs is full of this, tunes that work their way into the listener’s head and successfully strike a balance of being nostalgic without being derivative.