Its indie innocence would be too much if it wasn't for the darkened, Lynchian hum that hangs over the record

Generally this is fairly accessible stuff.

Tasteful and perfectly executed, but workmanlike.

Her songs sound even more spaced out and unreal than ever.

Espers, the rockier duo with which she made her name, seem to be on permanent hiatus, but this more than suffices.

It's as idiosyncratic and tinged with goofiness as one might expect for a band with members called Panda Bear and Geologist.

In under an hour B&S have reversed their decline, producing an album that ranks alongside ‘If You’re Feeling Sinister’.

The novelty-obsessed stay-at-homes who made Toro Y Moi the buzz hit of 2009 might react unfavourably to all this accessibility, but by digging deep, Underneath The Pine shows Toro Y Moi setting down roots and, perhaps more swiftly than expected, flourishing.

True to title ‘Things Take Time, Time Time’s unshowy songs take hold more slowly, but Barnett’s small snatches of happiness grip you all the same.

An onslaught of varied and marvellously good tunes presented in an unexpectedly inventive way. [18 Sep 2004, p.65]

It can be a harrowing listen, but Wheeler sugars the anguish with slabs of OMD synthpop on the title track and 10-minute centrepiece ‘Medicine’.

The result is a record that cloaks Gengahr’s inherent weirdness in peaceful melodies you’ll want to wallow in for hours.

Dismiss this as uninspired “dad rock”, or embrace it as a dad making the music he’d want to hear.

Fully fleshed out pop songs with endless charm, if this is what living in the moment sounds like, it suits her.

‘I Barely Know Her’ is a slick, ambitious collection of songs crafted for big venues and festival stages.

Girls are a band who release their intoxicating mist over time, making this mini-album a bit unsatisfying in quantity rather than quality.

Britrock's grumpy uncle has regained his gnarled spirit here and fans will feel all the better for it.

'Walking With Thee' is barely forty minutes in length, but feels about half that length - not because it flies by, but because throughout, it barely feels substantial.

At 18 tracks long, ‘Lover’ is more sprawling and further from flawless than her 2014 pop crossover ‘1989’. But it succeeds in spite of its clunkier moments because Swift’s melodies are frequently dazzling and her loved-up lyrics are ultimately quite touching.

The brevity and density of the album, coupled with the unique production, makes it seem like an epilogue to ‘Some Rap Songs’. Earl Sweatshirt has made another project that listeners will scrutinise and dissect repeatedly. It’s further proof that Earl Sweatshirt is a generational talent.

The problem is simply the songs: route-one, four-chord grunge adrenaline hits that have none of the haunting and eerie dissonance that set them apart from bands like Wavves, and the rest of US indie’s surplus of breezy slacker-rockers last time around.

Every track here follows the same pattern over identical lackadaisical rhythms, her vocals never rising beyond a low-slung murmur with most of the lyrics drawing the same conclusion: she’s bored.

Now shorn of vibraphonist Keaton Snyder, San Francisco's The Dodos remain a three-piece with the addition of alt.country chanteuse Neko Case.

Shinier and poppier than anything Speedy Ortiz have done, Slugger is Dupuis’ attempt at putting politics into pop. The results are a thrilling and fizzing triumph.

There’s a rare moment of foreboding on the briefly gloomy ‘Feather Man’, but the likes of ‘Shining’ and the Avi Buffalo-style ‘Only The Lonely’ are representative of an optimistic and sprightly record.

Across the whole record, there's a kind of galactic atmosphere that gives everything an spacey edge.

Sharp and powerful.

Truths rarely come as beautiful as this.