If you need a good dose of enthusiastic summer sunshine then Louis Cole has crafted a superb hideaway.

After The Party is resurgent by rediscovering everything that’s exciting about The Menzingers’ esotericism, and it’s fresh through galvanising this logical step in their thematic journey with a goodie-bag of gratifying surprises.

It's hard to imagine a record more slick and fun than Tuxedo arriving any time soon.

Minimalism is an integral part of the artistry, but with such intoxicating and candid notions, the balance reached is so perfectly aligned for this type of music, and in such an apathetic age, material like this really is a dying art; savour it.

It's this widening of scope, combined with such a strong sense of identity, which makes Reality Testing tick over beautifully.

La Isla Bonita is harder, edgier and noisier than 2012's Breakup Song, but just as charming, off-kilter and curious.

Lowly make it clear throughout that they look upon life and all of its intricacies as a gift, and they have translated that wonderment and thankfulness into a beautiful ode to the world on their debut album.

International is extremely effective as a pop album, with stand-outs ('Armida' is very, very good) and a consistency of tone matched by pretty flawless execution.

Thankfully, rather than this coming across as some comprehensive grave robbery, Greys have added enough of their own ingredients to concoct quite the powerful brew.

On album five, they still manage to experiment and sound as fresh as they were when they spat out 'Seventeen Years'.

Though it can eventually make for numerous and intricate readings both technically and conceptually, it's the album's undeniable quality that emerges as solid and everlasting, embodying a timelessness very rarely found.

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.

It might not have the same explosive nature as Bones but what it does have are some pop juggernauts.

In keeping it short and sour, the normally too giving Sleigh Bells have finally done it: left us wanting.

Flashy records are always exciting, but the merits of a solidly constructed and alluringly dreamy album like Life of Pause should never be underestimated.

Quite simply, Sound & Color isn't an album to Tidal or play off've some 'device', it's one to sit down and listen to in its entirety before happily handing down through the ages like a sweaty bag of Werther's.

Life isn't exactly a concept album about becoming a parent, but it's clear just how much the experience has changed Friel, as it captures all of the excitement of first time discoveries and all of the possibilities that lie ahead, which in turn makes the music feel like his most innovative and playful yet.

Unlike its predecessor, the new album is expressed with a confident ease rather than pent up frustration.

Sirens runs swimmingly from track to track, and it’s ideal to consume it without a tracklist; listening as its samples, beats, and voices travel without a map or a compass. It’s clear Jaar wanted to do something similar to what the average listener considers to be an “album”, but making a strong case for his intentions takes patience. Contrary to pop music and accessibility at large, it works well in his favor.

[An] electronic gem.

Smith's observations are insightful, full of emotional depth, but never overly complex. It's that combination that has always made them so appealing, and it also makes this their strongest release since Antenna to the Afterworld.

CHAI may be a fledgling band, but on PINK, they’re already shockingly sure of their sound and what they want to accomplish with it. It doesn’t hurt that they kick ass at it.

For the time being their concoctions remain a successful blend of sardonic and mystical, and will most likely win them a stream of new fans.

If All I Was Was Black is often times both troubling and soothing.

She not only tells a story, she takes it a step further, peeling back the façade and interacting with the truths that haunt us all in those late night hours. And it is that bravery that truly propels Tourist in This Town.

Remind Me Tomorrow, then, isn’t only a return to her calling, but a grand surprise. Sharon Van Etten has finally, truly, embraced just how appealing her unique voice can be.

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

Love Hates What You Become is an endearing album that earnestly cares about our generation and is admirable because of it.