Forgiveness Rock Record might lack the romance of Funeral but it's far more alive than Neon Bible, with an urgency and energy that invigorates rather than drains.

They’re unequivocally, without question, 100% no longer a promising band to watch out for. Instead they’re an essential band to love.

The tension that gave those early albums their fizzing energy may no longer be there, but in its place is a band operating at a far higher level. Give A Glimpse Of What Yer Not is almost certainly the best album the reformed Dinosaur Jr have made so far.

Some may be turned off by the sheer melancholy on European Heartbreak, and yearn for the drive and verve of songs like It Changes. Yet, for anyone who enjoys soaking in sorrow, this makes for perfect listening. For anyone from other states of the European Union dreading the uncertainties of life post-March 2019, this album could at least be a security blanket.

Nobody Knows should be the start of a brilliant career, not the conclusion of a merely promising one.

Mainstream R&B fans may be baffled at various points, but there will be few more engrossing albums this year.

There is something beautifully moving and enchanting about NZCA/LINES' music, and his debut album is a wonderfully assured and measured collection of forward thinking electronic pop.

The band's relatively quick turnover suggests a restless creative spirit. However Sun Gangs harnesses that to communicate music of a raw emotional power, a record that should open more doors for the band than it closes.

It's the sound of past and future uniting to good effect--and Kasabian's strongest statement yet that they're in this for the long haul.

After just a few listens, it cements itself as the best Vampire Weekend album to date and, much like the New York City to which much of this album is an ode to, there are layers and layers to this record which are a delight to unpack and discover.

Faith In The Future may lack the life-affirming joie de vivre that The Hold Steady can invoke at their best, but if we’re to hear no more from them, there’s enough here to reaffirm faith in Finn’s future at least.

It all amounts to Hersh’s harshest offering in sometime, but it’s also the sound of an artist rejuvenated and inspired.

No one around sounds quite like Clor at the moment.

His debut doesn't feel like poor pastiche [of 60's-era Dylan and Donovan] but rather the joyous tribute of a teenager with the necessary chops.

The personal attachment to the material shines through.

The Inevitable End, whilst more reflective and introspective, is little different. If this is the end of this current stage of the Röyksopp story, it’s a pretty classy way to bow out.

Seeing Other People initially appears slick and self-obsessed, very nearly to a fault. But scratch below the surface and there’s tongue-in-cheek humour.

While The Mountain Goats will always remain an acquired taste, there’s a case to put that In League With Dragons is possibly one of their most accessible albums. The collaboration with Pallett is a smart one for sure, and Darnielle has refused to let age dull his edge or mischievous eye for lyrical detail.

Here Lies The Body might contain its fair share of matters of the flesh, but it’s also an album of depth, ideas and ambition that retains a highly personal feel. Moffat and Hubbert prove the collaborative Scottish spirit is in fine condition.

If Dirt Femme is the sound of Tove Lo finding her feet, the future seems very bright indeed.

For those that can stand the fact that this lot really do possess some talent, this might be another slice of Sub Pop to add to the collection.

It is a modern pop record to be cherished.

As ever, there's a jamming seam throughout the Malkmus landscape, with the likes of Brian Gallop descending (or ascending, more appropriately) into freeform guitar passages that, while inevitably slightly indulgent, are never less than engaging, tuneful and, above all, enjoyable.

It arrives with sharp impact, melding abstraction and direct sound to impressive effect.

The highlight, however, comes at the very end. The dense and deeply hypnotic title track Goodnight Oslo could well end up on the list of class A drugs the next time the government gets round to discussing such matters.

It’s that eclectic and restless nature that makes I Hear You one of those rare dance albums that sounds equally at home in the living room or in a club. Expect Peggy Gou to be the soundtrack to all the hottest barbecues and beach parties this summer.

His invention for beats and riffs is remarkably fertile throughout, and he applies careful and often striking shading.

Héritage will no doubt further boost their already strong credentials. There may be elements of familiarity here but there’s also a freshness and sense of integrated cohesion. In short, it shows them to be one of the best in their field, having lost none of their power despite on this occasion dialling down their sound.