Concerns over the band’s changing sound are summarily squashed under the furore of their zipping forward with the energy and heft of a dozen motorcycles.

A condensed but still very enjoyable facsimile of Snaith's multi-faceted, technical and tasteful dancefloor oriented abilities.

Ultimately, A flame my love, a frequency is an intimate voyage of a single human soul through nature, and the minimalistic synth compositions she has used to render this prove to be an ideal vessel.

Grouper tenderly and quietly beckons you nearer, allowing the sadness to seep into your bloodstream. Lyrics are distant and difficult to decipher, however it isn't hard to comprehend the emotional weight of each track.

Kinsella's intelligent reinterpretations of the works of his contemporaries seem like they might represent a nice point of entry for those ready to delve into his work as Owen.

So whilst there are shades of Jan St. Werner, Brian Eno and Yellow Magic Orchestra, the result is a series of soundscapes like nothing else.

The dynamics of their indie-punk have never been sharper or more finely attuned to the spin of their forlornness.

Despite Jack White's claims that each song is separate due to the archive nature of his source material Lazaretto is a cohesive entity made distinct by the range of styles and structural arrangements on individual tracks.

Music For People in Trouble led Sundfør away from euphoria but, in its own way, also gave her the tools to find herself again in music. Ultimately this directed her down path, through singing in the purest of forms and composing, to finding tenderness in love and matters of the heart.

Unfortunately, Morby's latest effort seems to purposefully aim for the very middlest of the road.

Powerplant is not the strongest record they'll release, but neither, you'd imagine, will it be their last. There's more than enough here to suggest that we may still be in the earlier days of a long and beautiful friendship.

Only ‘Peanut Butter’ stands out amongst the morass by dint of its crashing introduction. Even that track eventually settles down into the record’s bloated template. It’s a shame, because there are some lovely moments.

For those who are willing and eager to succumb to Stetson’s idiosyncratic sound, pressing play on this album is like stepping into his wilderness, and if you’re prepared to be battered by typhoon-like playing and virtuosic arrangements of sound, then you’ll come out the other side thrilled and refreshed.

Dwyer’s band are still the masters of genre-leading and genre-defining garage-psych-founded mayhem but Face Stabber veils that slightly behind bloated long cuts and a lack of standout individual tracks.

Soul Power is emotionally tangible and downright soulful and in his own way Harding has fittingly paid homage to the words sung by the old guards of soul, who united and continue to unite so many.

It often has the spontaneous feel of a live show, and Mark Greenberg's unfussy production serves to amplify that rawness.

Unlike countless hip hop albums that feel slapped together to fit in the artist's favorites alongside the label's, flow unconsidered, each moment of Big Baby feels earned.

Take this record as your starting point and move forward.

A Black Mile to the Surface is not ultimately the kind of cohesive and singularly classic album that Manchester Orchestra has shown the ability to create. However, the bold new steps Andy Hull and company take on it seem likely to be the building blocks upon which they build their next classic.

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.

Full Upon Her Burning Lips requires patience from the listener as its contemplative pace offers multiple rewards on repeat plays. There is a depth to the album which is more evident with an enhanced investment from the audience as layers are revealed in the aural panoramic panacea that are hidden within the subtext of the songs.

Beneath their gilded surface, everything here has been explored numerous times by the man himself before, far more memorably.

Overall, On Your Own Love Again is a mesmerising, bewitching listen.

Every element that made Neon Indian such a joy through the first two albums has been polished and improved upon to make a record that truly must be heard.

It's really worth putting aside 12 minutes to sit and decide what side of the fence you want to sit on. Or an hour, because the chances are that you will probably have it on repeat.

In an album where everything seems to be allowed, at first it may feel uneasy to understand but dissecting the elements is the key to understanding Physical.

By removing its circumstantial baggage entirely, The Wild Heart Of Life is satisfying and uplifting, and continuously so. But it feels in every way--sans the band’s personal serenity--a regression after Celebration Rock.

The world it creates is in many ways richer, more affecting and bolder than the ones that came before.