The instrumental experimentation is spot-on, not imposing itself too much on the melodies nor serving as a vehicle for virtuosity; they sound solid and everlasting, yet serene enough to know how to take their music to the next level.

Her weary disposition begs for songs that are stripped down and reduced to their component parts--songs that don't fuss around. That's the problem--the fussing, the instinct to add more. It sounds like she's reaching for something, but she doesn't know what it is or where to find it.

This is an ideal sign off for a band trying to showcase their own new sound; not overpowering, but a sharp, pointed and intriguing tune that will still be resounding after the track has finished.

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.

Boronia isn't going to change the course of music history, but it could just make a night of yours a little sweeter.

Morgan Delt's Phase Zero navigates that thin line between rêverie and acid trip, drawing an accepted state of temporary and discreet insanity.

Guidance is not only Russian Circles' best album yet, but a standard-bearer for heavy, guitar-based instrumental music.

Boys Forever is almost built to act as the soundtrack to the end of the dog days, when you just want a lovely track to wrap up the best moments with your friends.

When the walls seem to be crumbling, she dodges them with vocal acrobatics and surging production. As we look forward to a happier time, less insufferable, NAO shares a bit of bliss in her coming-out party as one of R&B’s most promising young dominants.

Ellipsis has an air of Moving Pictures about it; an amalgamation of everything that came before it into a cohesive whole, with a couple of new bits added in. It's still Biffy, but it sounds a little new.

A complement to Homer, whose exquisite myth catapulted the bard himself into the realm of myth, Crampton fashions a performative poetics that performs its own brown, queer, and sublime reality.

Whilst an extraordinary album from start to finish--there are moments that really stand out.

It's quite an enjoyable listen. It's all possibly about as boxed and pared down as Richard D James has sounded.

She has sharpened her writing to a fine point that pulls from life experience, unbridled emotion, theatricality and a sense of humour. Murphy has her own style, but more crucially, she has her own substance.

Wildflower might not be perfect, but it is gorgeous, heartwarming and fun. Its upbeat outlook is infectious and sure to be the soundtrack to many summers to come.

The Julie Ruin have moved closer to the show tunes influenced half of punk, and further from the grunge influenced half. In its honest mapping of the experiences of being a women involved in music scenes though, it is consistent with the very best of their previous work.

IV is perhaps a little too ambitious for its own good. Grandiose aims are never to be scoffed at, but considering that IV's highs are so remarkably high and its lows are so forgettable, one cannot help but wish that BBNG had smoothed out the product.

It's messy and crude, but never predictable. Nearly 20 years into his career, Copeland continues to make challenging and idiosyncratic music that defies conventional boundaries, and it's safe to say there's no chance of him toning things down anytime soon.

The Bride might not be as accessible as its predecessors, yet after time invested it will have you curiously considering ceremony, matrimony, and individuality.

Mount remains an exceptional musical craftsman, who continues to shift and change and toy with his formula, which is proven to result in fun listens like Summer 08.

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.

Deerhoof show that pushing boundaries can yield fantastic results.

One of the most sincere sonic statements of the year.

Nothing feels forced. The ease with which the compositions flow and lyrics are sung is something any aspiring musician should hope to accomplish. case/ lang/ veirs wrote an album that captures the beauty in pain and the flaws in magnificence.

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.

There are moments when their roots peek through, such as on 'Sad Sad Situation,' but this record feels more like a well thought through progression and career finisher than an attempt to indulge in nostalgia.

This is a solid, fun-loving post-punk record that definitely leans heavy on the punk.

Concrete Vision is perfectly fine.