Sometimes, as on “Pure Sticker Shock,” the emphasis on open space can drag. Let’s just say that there’s a lack of punchy anthems, but as tracks like “Votive” and “Ballad of the Last Payphone” demonstrate, the supergroup’s brand of tuneful melancholy remains intact.

Creature of Habit is another respectable entry in her increasingly understated and overlooked discography.

I find myself increasingly drawn to both instrumental works and music that rewards patience and active listening. Sidings is a bleak delight.

Their burst of creativity comes to life in a lively tapestry of moods, both musically and thematically, but they make sure to balance the fun with genuine sincerity.

Consistent, assured, and suitably varied, Brink is a very impressive debut from a band with a bright future. Confuse them with Scouting for Girls at your peril.

DISCOMBOBULATED is an idiosyncratic record, overflowing with eccentric charms and a uniquely British (in the best sense of the word) personality.

Ratboys have always sounded like an indie rock band comfortably integrating country elements alongside their core sound. On Singin’ To An Empty Chair they sound a little too comfortable at times.

There’s a quietly accomplished record waiting to be discovered by those who are prepared to approach with patience.

While Transmitter doesn’t sound like a late ’60s artefact, it still sounds like Clarke—a refresh rather than a revolution, and a perfectly satisfying one at that.

If there’s something that holds back the album from even greater heights, it is its overly familiar ambiance, which at times resembles the sweeping film scores typically associated with indie country-western dramas. But that doesn’t in any way diminish Horn’s songwriting, filtered through a warm and pensive haze, which becomes more distinct as her career progresses.

A sumptuously produced record with an enviable hit-to-miss ratio, Middle of Nowhere delivers more than enough drama, humour, and sparkle to solidify Musgraves’ place on the country music throne.

There is no sense of fatigue here. Alongside Sebb Bash, ELUCID sounds reinvigorated on what is essentially a more traditional Hip Hop record than Revelator—and, if I’m honest, a better one.

So, Living Human Treasure is hard to love, but it’s not unlovable. There’s a smart, inventive band at work here, with the potential to rise to the very top of the current class of post-punk acts.

She leaves enough open spaces to invite some speculation and creative faculty, but by all accounts, this is the story she had to tell during this period in her life.

B’lieve i’m goin down is further evidence of Vile’s conclusive authenticity, and his position as one of songwriting’s most understated commodities.

Though Darnielle skillfully furthers his compositional approach in In League with Dragons, there are times where his unbounded, bookish wit gets the best of him.

It’s refreshing to see an EDM producer balancing his more hedonistic impulses with genuine artistic ambitions, especially when it’s done with such a consistent energy and purpose.

It’s a solid record; put it on and forget it.

They make enough changes while doing what they do best to avoid getting pigeonholed, which is more than we can ask for from a band that’s about to start a third milestone.

In all this album won't be world changing. The Vaccines are not "the saviours of British rock and roll" but What Did You... doesn't need to be. Instead it's inviting and well observed more than anything, a triumph typified by Post Break-Up Sex--a sublime sketch of that insensitively cute idiom, all guilt-ridden and relatable.

The truth is that No Joy is unadulterated, all-surrounding sound.

It's difficult to judge a soundtrack separate from the production. But even without the visuals, Lazarus is still worth a listen or two. The performances range from solid to great, and the covers of these classics are often fresh.

Aloha have created an album with a strange feel, Home Acres is dark but it’s not cold. It’s a humid album that aptly demonstrates Aloha’s greatest strengths, but also highlights their weaknesses.

Overall, One Kiss Ends It All is a little uneven but still an enjoyable piece of cosmic pop, and once you get past the occasional stutter, there is a lot to take from this one. If only every day could be Saturday.

Despite occasional moments of album filler, Delays have still given us an album with at least three slices of timeless pop.

Sky Full of Holes, the band's fifth release, doesn't stray from their foundation of fitting rhymed schemes amidst archetypical power pop chords.

If APTBS have fallen off your radar in recent years, then this is the one worth reintroducing yourself to their work.

While his music has reached new heights of production and depth, his penmanship remains pedestrian.