In pursuit of an authentic sound, Humberstone proves that she’s not only inhabiting her own space – and beckoning listeners in – but also building out the walls.

Through a rich exploration of genres and a new level of emotional depth, it becomes clear that ‘Skeletá’ was made with a new vision in mind, and comes as the promising start of a new Ghost chapter.

An enchanting record of twists and turns.

I’m Going Away sees The Fiery Furnaces abandon their surrealist tendencies to work outside their comfort zone, experimenting with structure and euphony to reassert their status as our most vital musical siblings.

From the outset it makes clear that it features songs that aren’t rooted in any one place or time, but are effortlessly stitched together to create a dynamic mapping of modern urban existence.

The whole thing fizzes with a wired guitars-on-sleeve honesty and an artful intelligence more akin to The Mars Volta after an emergency jazzectomy thanThe Datsuns’ deadheaded dolt rock.

It’s always best to take what M.I.A. says with a pinch of salt bigger than the NHS would recommend but if AIM really is her last album, it feels like a fitting parting shot.

At its most euphoric, 'In Case We Die' is reminiscent of the cast of South Park forming a Polyphonic Spree tribute band after an all-night feast of sugarcubes and E numbers. [13 Aug 2005, p.58]

It's clear this group have ways of getting beneath your skin. [20 May 2006, p.33]

There are no real bangers here, but for once that’s not a disappointment cushioned by wafty ballads. Instead the low-key, moody production throws the spotlight on the words and the images brought to play by Beyonce as serious album artist, encompassing bulimia, post-natal depression, the fears and insecurities of marriage and motherhood, and lots and lots of sex.

A maelstrom of hums, echoes and grumbles of horns, percussion and bass pushes against always gentle melodies. But Week’s voice, striking and smooth, always blends with the music. One is not stronger than the other. Delicacy and power, waiting and living, the ordinary and the extraordinary – the listener is invited to feel it all.

The absence of quirky samples and lame big beats make it all sound, right now, strangely radical.

‘Don’t Forget Me’ shines in its simplicity, with Ian Fitchuk (Kacey Musgraves, Stephen Sanchez) as the sole collaborator. Here, through a whole-hearted embrace of the folk, country and Western that underscored her upbringing, Rogers’ seems more at home than ever. Yet, ‘Don’t Forget Me’ exists as a meticulously crafted homage to the road trip.

A constantly surprising and relentlessly melodic pleasure.

They've made a sincere, unironic record about how great life can be if you want it to be.

This urgent and important record will ensure the veterans don’t get lost in the shuffle.

There’s a reason that the London-via-Kendall four-piece, centred around siblings Fiona and Will Burgess, have been attracting such attention. In fact, there are 11 of them on this debut full-length. Much of it’s down to Fiona Burgess’ sad yet sultry vocals and the way they stretch across these dreamy, largely synth-based songs.

‘FACE’ might not be flawless but even in its missteps it reflects the turbulence of modern life – and especially of the last few years. If Jimin’s mission on this record was to stretch himself creatively and distil that dissonance in these songs, it’s one he’s accomplished.

After You shows an artist rejuvenated and fired up, and hopefully back on track to stick to a more timely release schedule in the next decade.

Not quite the greatest per se, but bloody close. [21 Jan 2006, p.33]

Whereas Murphy's wise enough never to let his showing off spoil the fun, he can't avoid investing these songs with heart and soul.

The occasional outdated attitude and some light filler material here and there aside, ‘Twelve Carat Toothache’ is another step up for Post Malone. It’s a record that feels distinctively, inimitably him and succeeds in his goal of sharing his truth.

They deliver a record of impressive contrasts; one that allows them to show off exactly why they’re beloved in their native Scotland, and soon beyond.

It may be theatrical, but ‘Superache’ still feels deep and honest. Cut through the crescendoes and you’ll find real tenderness.

These 12 tracks are a furious, funny flag in the ground from a band who make absolutely no bones about who they are.

‘The Mutt’s Nuts’ expands the boundaries of what Chubby and the Gang are looking to achieve, but they’re not about to forget where they came from.

Attention Please is the first to feature just guitarist Wata on vocals. Her breathlessly beautiful singing style calls to mind classic Stereolab on the title track and one of My Bloody Valentine's more sublime moments on 'Hope'.

This is an album that rings with the honed precision and craftsmanship of a job thoroughly done.