Dissolver is a confident and comparatively focused outing for Younghusband, one that sees them further developing their musical interplay and tightening their already sturdy sense of songcraft.

Their homemade studio occasionally shows its flaws, but this is simultaneously heartening. King Gizzard are easy to forgive and fun to like, showing that it’s more than a record about reliving psychedelic music’s prototypes.

They’ve dredged up their youthful feelings and animated them in both honest and affectionate tones, and it makes You Might Be Smiling Now… a joyous rummage through swathes of bleary nostalgia.

Standout tracks, melancholic interludes and stylistic jumpiness add elements of unpredictability to Everett and co. that they’ve sorely missed. But these same things also make it an overarching mess.

From bird sounds, flutes and screams to pounding techno beats, disco, house and catchy hooks, DOOMSQUAD’s Let Yourself Be Seen creates harmony in chaos, showing a reflection of our times and the necessity of togetherness in finding a release for self-expression.

This is a decent body of work which would actually work well as an introduction to the band for those yet to encounter METZ’s noise to date.

Xenoula is a funky, fresh and downright fun album that comprises many palette-expanding songs for anyone with pop proclivities.

Overall Enter the Slasher House is perhaps too subtle to sit amongst the likes of the Cramps, Goblin and Zombie Zombie playing John Carpenter, on your future Halloween playlist.

As Cullen's thought provoking and dark lyricism crawls beneath its music adornment, you must unlock it to really appreciate the contrast.

GoldLink's debut album has something for every mood. Usually it takes an artist two or three albums before they reach maturity, however, with And After That, We Didn't Talk, GoldLink is well ahead of schedule.

Their take on their influences may seem straight-forward, but Autodrama exudes confidence and the kind of allure that Headbangers lacked, making this an enjoyable and rewarding experience to immerse yourself in.

Jessica Rabbit is a fucking great feminist-punk record, one of the pop highlights of the year, and the best thing they’ve ever done.

He's far too savvy to stagnate. And as long as he keeps making records like this one--so palatable they might be guilty pleasures were they not so rooted in pristine indiepop--his music will remain relevant.

. The more challenging half of the record may still to be released, but judging by the vibrant band on display on Volume 1, we need not worry.

At the end of the day, an outtakes record only appeals to super-fans and aficionados. Cowboy Worship is an interesting look at the evolution of Amen Dunes, but it doesn't add much to their oeuvre.

It's as brilliant a record as it is unmemorable, but ultimately as an artistic vice it is absolutely essential.

For an album so drenched in sadness, there is a disco for the downhearted lurking beneath its surface.

It's a gorgeously facetious record that succinctly sums up a breadth of adolescent issues; this is the kind of record you'd play when you 'rents were out, or when you've just been dumped, or when your younger sibling got you into trouble and you're sulking.

There are some tracks here which are absolutely the best in their class, but it's just a shame that as a whole the collection is weighed down by moments that don't shine as bright as others.

How and where Halloween ranks in his long catalog as a composer is up to Carpenter fanatics to decide, but for my money, it proves itself just to be just as consistent and wildly inventive as anything else he has done, painting with broad strokes and bringing to life its surroundings.

It's certainly an album that takes a little work to crack, and that work centres around Asbury's unique vocal performances.

Diamonds and company hold on to flimsy synth arpeggios and pop contrivances like a child would an old toy.

The second half of Worship The Sun is weaker than the first, it has to be said. And that could just be because the first eight songs (minus 'Recurring') are so damn good.

The album has clearly been something of a labour of love for its creators, and feels remarkably homogenous for something produced by four highly individual minds via a mixture of live and studio performance over several years. If you like the sound of a big, camp, melodramatic slab of astrological sci-fi shot through with very earthly, twenty-first century hang-ups, Planetarium is a trip.

Noise is another impressive addition to Boris' expansive catalog of experimental rock.

10 Futures takes Aqualung from the depths of forgotten, one-hit-wonder music territory and brings him back to the surface.

The movement and progression of sound of >>> is a simultaneously lucid and absorbing achievement, and for this reason and many more, Beak> remains one of the very best at subverting genre conventionality.

Though it’s not surprising that Iggy included a couple of left hooks, it hurts a little bit that the album doesn’t have more of the sing-speak poetry and post-rock dreaminess. He does it so well, but only about 22 minutes are dedicated to this sound. ‘James Bond’, in contrast, is a distraction from a compelling new direction.

If you're paying attention, there's a minor treasure at hand. Ease on in.

MCIII is a great record because it gives us a scattered, messy, but uncompromisingly honest portrait of Cronin himself. Nothing is overthought, nothing is too considered.

By starting from scratch and going in with aim to create something that is a direct reaction to the onslaught of modern music, Hemsworth has created a piece of music that lives in an environment of its own making.

Evidently, the Worth EP was quite literally worth the wait.

It's sugar-coated sweetness with a psych-haze CS gas drizzle. It's unnerving as you're not quite sure where it's going to go next--it is unnerving, to a degree, but also an intrinsic part of their appeal.

Sometimes a couple words like "damn good" can suffice and with BRONCHO's Double Vanity, a better description likely couldn't be found.

Concrete Vision is perfectly fine.

Though Thalassa does not capture the most positive of emotions, Gika reassures her listeners that sometimes feeling something--even anger and sadness--is better than feeling nothing.

Overall it’s a fun album of two halves. The first half tows the line between the cheesy elements of radio pop that even the snarkiest Slayer fan secretly loves, and some truly inspirational, if not fleeting, compositional substance. The second half, although still very much a fun listen, somewhat strays.

Volcano's songs seem to lack the spontaneity Sun Structures was built upon.

At the end of the day, this is a compelling addition to the Constellation ouvre, and there’s plenty to love here for fans of any moment of Menuck’s wonderful last 20+ years in recorded music.

Darker Days is colourful and playful but Morén’s beautifully ornamented vocal builds stretch through any presumptions of an album of “Young Folks” into a reflection on our demons and counter measures.

Rainbow Mirror is immersive, exhausting, and decidedly flawed. However, the strengths are more than enough to carry it forward, and the flaws are just a reminder that Fernow is at his best when he’s not holding back.

It's not a radical upheaval and it's nothing especially new--at least as far as Yorke's output is concerned-- but then it doesn't have to be; he's been pioneering an often-unique sound for so long now that I'm just happy to have some other songs to listen to.



Though this turn towards all-out pop music doesn't breed inherently bad music (in fact, it's quite pleasant), but it's not the reason we fell in love with Dum Dum Girls.

There are times when the album feels like it starts to tread the same ground, but there is also sign that Jungle have it in them to do things that are different.

The poor lyrics and minimal change in style makes almost all of Luck's tracks sound like slightly more polished B-Sides to his debut of 11 years previous.

Heyoon accomplishes what many fuzzed-out, shoegaze inspired bands strive to do--create an album that is heavy, sludgy, experimental and equally precise; musical, catchy.

There are a few isolated moments of satisfaction, like the ‘Freres Jacques’-esque guitar melody on ‘Welcome to My Planet’ and the accordion leading into the discombobulating melody on ‘Queen of Koalas,’ but there isn’t a single track that comes together as a complete idea nor is there a single moment where it sounds like Xiu Xiu and Larsen are on the same page.

The result is dense, hard to categorise, and an exhilaratingly beautiful work full of blinding light and doomy shade.

Wysing Forest has a time and a place but unfortunately falls short of the mark that was set by Abbott's previous memorable output and the work of his peers.

He never carves out a distinctive sound for himself, opting instead to show off the breadth of his musical abilities--it's impressive, yes, but noncommittal.

Moves the bar considerably higher from their brilliant debut album of 2017 Come Play the Trees.

Cranekiss is a carefully crafted and wonderfully written record and beyond that it marks a new, exciting step in Tamaryn's career.

Compassion is Lust For Youth's most compact album, with only 8 tracks, and benefits from its trim nature.

Some bands are lucky and talented enough to find a format that works and just make hay with it. Rhye are plainly in love with their formula on Blood. The result is a finely balanced gem.

Good Fruit is an album that wears its emotions on its sleeve, but never overplays them. Far from insistent, it’s perfectly pleased to offer just what you need, and nothing more. Take from it what you will.

After The Disco is an unashamedly brilliant pop album that might just be the right kind of stuff to get you through the remains of winter.

One feels that the band's lid has to blow at some point with so much emotional pressure bubbling beneath the surface, but for now, the group remain solid crafters of beautifully tense music.

As Vic Mensa will continue to be one of hip-hop's most buzzed about figures, his full-length Roc Nation debut is a patchy tale of contemporary rap, as Mensa tries to find the line between intimate self-confessions and "inspirational" anthems.

The White Album is a return to a particular state, but it was never going to be a return to form.

This album is catchy. There is nothing wrong with writing catchy songs. Melody matters. Listenability matters. But this album feels like priority was put on making sure there were hooks in each song instead of letting the songs form organically.

Low just put out their best album in a decade, and For Good seems to be following the same path.

The Faint have come back in from the cold with the release of Doom Abuse, and frankly it's like they never went away.

Shake Shook Shaken rocks with an infectious confidence as they brim with a determination to survive.

Overall, The Dew Last An Hour is a solid debut.... it's all been done before.

The blend of psychedelic, stoner riffs and driving percussion on tracks like 'Towers Sent Her to Sheets of Sound' sits comfortably alongside the quiet waltz of 'Necronomicon' and exhibits just how exciting, thrilling and moving rock can be.

The tracks here, whilst enjoyable and (for the most part) produced extremely well, amount to a record that lacks the impact of SBTRKT's debut.

David Crosby simply continues down a path he established for himself a long time ago, and even if he has encountered a few bumps along the way, this is a record of a man who has done everything he wanted to do with his life, and Croz emerges as the final piece of the puzzle.

Donovan Blanc may lack a bit of originality, but when countered by a distinct lack of pretension like this it doesn't seem to matter.

At times it's quite boring, but at times it's very good.

A truly wonderful record that deserves attention, as does the work of Arthur Russell.

This sense of uncertainty is powerful, and what makes Phox one of the most honest and refreshing albums in recent years.

A solid effort that has pure intentions, but just doesn't quite hold the attention in the way some of Diarrhea Planet's peers do. Turn To Gold will find a solid niche of fans, and likely just get a head nod of meager approval from everyone else.

There's plenty of fun to be had here, even if it can't help not quite measuring up to past hype.

Individuality has been smoothed out by production and a lack of lyrical diversity. Undeniably a star, Maggie’s light has been dimmed here.

If the next two albums are going to document Miller's rise from rock bottom I'm intrigued as to how he's going to do that when there's a great deal of what seems to be optimism already about. That's exciting and it all comes from how good and honest Mansion Songs is.

Devil Music is unabashed reverence, almost innocuously so, but articulated with thunderous gravity and primitivism, if not focus. It won’t feature on many end of year lists, but it’s a helluva road trip, albeit one you’ll forget a year later.

The complexity of the songs means there is plenty to enjoy upon repeat listening, although some tracks do feel under-developed. There is no denying that Walker is talented, but five albums in, we’re still waiting for the flawless masterpiece we hope he’s capable of.

While the songs are undoubtedly strong on their lonesome, You’re Welcome is a record that begs to be listened to in sequence.

There's an occasional human misstep reminding us that these aren't robots churning pristine pop, and that they can concoct foibles, but there's no reason we can't just sweep those issues under the rug. It's easy to overlook any small faults, as the rest of the record is so damn glorious.

It's lovely to hear an album that ostensibly requires so few ingredients to paint such a rich emotional landscape.

Much like this path's brightest gems, Revelation is unique, yet strangely familiar.

You nearly always know what you're going to get with Plaid albums, but equally to miss them, to pass them up, is akin to passing up on some of those curious pleasures that make life so enjoyable, whatever these might be. So, you know what you must do; get digging The Digging Remedy.

The Greatest Gift is an appropriate accompaniment to Carrie and Lowell. A simple compilation of oddball tracks, it delivers enough to stand for itself--but is ultimately only really for the enjoyment of Stevens’ long-time fans.

Although on the surface this sophomore record is a less vulnerable effort than his acclaimed debut, if the listener scratches even a little below the up-tempo melodies they will discover the same shambolic protagonist, struggling with the strife of everyday life which they fell in love.

On the Strange Weather EP, she takes this signature style and applies it to the songs of other artists who share the same particular penchant for music that finds inspiration in the dark recesses of our minds. This proves stunningly successful, no doubt responsible in part for the help Calvi recruited in the form of producer Thomas Bartlett (The National, Antony and the Johnsons) and one Mr David Byrne.

Whether it's their brutal attempt at gloomy chamber pop on 'My Only', their embarrassingly direct ripoff of a My Bloody Valentine track on 'Anymore', or their goofy, oddly timed guitar licks on 'The Garret', The Echo of Pleasure results in being an incredibly vague arena rock statement, one that's hopelessly gasping for life (and critical acclaim). As Berman's vocals have clearly aged, so have his songwriting abilities.

This has infinitely more charm than Kane, albeit with a very familiar love of a predictable lyrical couplet.

So while In Glendale is not groundbreaking, revolutionary or gut busting levels of funny, it still provides a humorous, pleasant and suitably mundane peek into the life of a man who has long established himself as a champion of surreal strangeness.

They effortlessly shift between the twinkling and sparse to the thundering and assertive. The Planet continues their crusade of love from their debut album.

Ten tracks of beer-soaked bar-floor bliss, Television Man sweats through with an octane of badassery that's hard to come by these days. And while it's far from album of the year material, it probably is one of the best rock 'n roll recordings to bless the scene in a long time.

Although She-Devils falls short of the high expectations it had built up prior to the release, all in all it is a solid album, one packed with loads of potential and major signs of forthcoming genius from the Montreal duo.

For those of us all too invested in the constant slew of bigger, louder, more flashy presentations every week, it's a true pleasure to get lost in such a graceful, deceptively simple world. Open is a true treat.

Immersion do well to paint imagery in the listeners mind with, “The Humming Sea” rising up with an ocean of analogue synth pad like sounds representative of this image as though it is a reality. It is this ability to create an easily interpreted image of the sounds that make this album so easily accessible to a listener.

Jassbusters is an unusual album in that it’s not quite unusual enough.

Junto holds few surprises and its not the strongest album to sit in their catalogue, but it is reassuring to know that the boys are still making the music they love for a global dance audience.

At times, the staggering length may make the album seem a little more "good night" than "good morning", but GO:OD AM is a place where quality and quantity coincide.

This album might not do anything particularly revolutionary, but as an example of affable, nuanced power-pop, it is hard to beat.

The brevity of Lust For Youth is an issue, particularly as the eight songs fail to fully bond together, so the end result is a little too disjointed and the album overall suffers from a lack of flow, immediacy and purposeful direction. There are some good tunes here, of that there is no doubt, but it feels a little flat as a body of work.