While some may still find Fanfarlo's sound too inoffensive to get its hooks in under their skin, Let's Go Extinct is an undeniably ambitious, energetic and bombastic effort.

Overall Hot Thoughts doubles down on what we already knew: that Spoon are a band always looking to push themselves, a fact that seems to be getting more acute with each passing album, and it should be celebrated.

Its an album free of ego: the mirror isn't directed towards its creator, but clearly rather towards his hope that we will catch some glimpse of ourselves in its murky, softly swirling depths.

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.

It’s A Myth an easily enjoyable release that doesn’t waste any of its brief and surprising burst.

It must be frustrating for Steadman and his fellow Bicycle Clubbers to be unable to shake off the mainstream's lager-stained memories of their debut, but you get the sense that So Long, See You Tomorrow is an appreciative, if somewhat firm, farewell aimed in their direction.

Ghosts Of Then And Now is a rich and dynamic listen, threaded with a strong sense of purpose that's wonderfully engaging.

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

This is a scribble to go up on the fridge alongside other much-loved items, even if those items are photographs which remind you what real life looks like. Stick a magnet on it. It's done.

I Don't Like Shit, I Don't Go Outside is an exceptionally realised and meaningful work from an artist looking well beyond turn up culture in the pursuit of something deeper and longer lasting.

No dead sharks here, then; just the sound of a once-cult band confounding their perceived limitations and joining the top tier of Britain's pop purveyors in the process.

Many of the tracks vary to such a degree that those not acquainted with Olsen would be forgiven for thinking they were not by the same artist, yet to those who appreciate her work, the artist’s strong narrative ties the collection together.

Due to its immense diversity in terms of approach and styles, the rarities CD is a brilliant way of letting us into the multiplicity of colours and shapes that is Air's music.

As a whole, Gulp’s new long player is a very pleasant experience from start to finish, and reminds you that Gruff Rhys is not the only member of SFA to have played a major part in delivering so many classics over the last near-three decades.

Although Lotta Sea Lice didn’t exactly live up to it’s potential and hype, the end result is still something to be reckoned with; a fascinating and balanced attempt at perfecting the concept of the collaboration album.

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

More often than not, his debut is one that gives any room a light up disco floor, makes any moment a reason to escape to the Ibiza nightclub in your mind.

There's always a sense of worry that once a band loses its chaotic edge, its youthful exuberance, it takes a step back, but this isn't quite the case with Foals on What Went Down.

Young Billie Marten is proving that, even at the age of 17, she is charting territories and making music that will only aid her growth.

This is indeed an astonishing and absolutely infectious debut album: the urgency that each and every track is communicated with makes even the smallest detail surface as necessary and never misplaced.

Black Belt Eagle Scout has crafted an album to play any naysayer: At the Party with My Brown Friends will make a fan out of anyone.

There's a strong sense that Our Love is an important step in the evolution of Caribou. Whatever the formula is, it's working.

Refreshing indeed is the lack of a vindictive or grieved air, Shaddad instead largely keeping a sadly level head, pitying the person she had to grow beyond without being insulting.

For many decades the duo’s music has dwelled but thrived within the public consciousness, and even though No Geography looks backward at their heyday, it simultaneously looks forward further than most electronic artists today.

A captivating and downright fun little album, but it does feel just like a little side project--some friends just having a mess around--than a proper juicy album.

While Raw Silk Uncut Wood may alienate some in its distinctness from her back catalogue it finds a firm place in her ever-growing oeuvre.

The shiny production helps to carve a gigantic wad out of what is already a pretty full live sound, with crunchy guitars and some impressively Animal-esque drumming from Ivan Luketina-Johnston.

With Double Negative, Low maintain all fronts of their fanbase. All the elements of the bands chilling atmospheres are there.