Sonically, Assume Form might be his most approachable album to date, but its emotions are anything but simple.

Joan Shelley remains a largely satisfying record with some moments of true magic, despite not ostentatiously breaking any new ground.

Lookout Low provides 10 outstanding tracks, each one making clearly apparent the effort put into creating this album was not in vain. This album is certainly going to be tough to beat.

None of these influences are worn on Young Fathers' sleeves and Cocoa Sugar is further proof that when the band puts something out that you can prepare for a unique, engaging listen.

ALASKALASKA are refreshing, listening to just one album sounds like listening to ten. The Dots is a long record and at times their weirdness washes over you, but over time, like the ocean over stones, something subtly changes.

His fifth album is the most grown and mature.

Few albums in the Oh Sees catalogue are as emotionally intimate as Memory Of A Cut Off Head.

Though it may take a few listens to reveal itself, Throws is a playful and inventive album that reveals little rewarding moments with each spin.

Magnificent, opulent, bizarre, and wholesome, Go To School is unlikely to be remembered as a hit-filled album (opposed to Do Hollywood) but as an important stepping stone in the rock'n'roll rite of passage instead, the one that unmistakably distinguishes good musicians from one-in-a-million geniuses.

This album is earnest and contemplative.

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.

Love + War is a flawed yet no less exciting debut from a talent who deserves every success in the world.

No More Normal is uplifting and wholesome, packaging a definite homage to UK music through the variety of artists included.

The EP serves as a solid little collection of Segall recent and new.

Girl With Basket of Fruit proves there is no one quite like Xiu Xiu, and because their musical uniqueness may rub listeners the wrong way like a piece of sandpaper against the surface of aged metal, they are better and particularly special for this reason.

Like the rest of her discography, Hour of the Dawn a short and sweet collection of music for and from the heart, only this time around it's played right from the guts.

It transmits a message in a coherent way and addresses social criticism of the current times, all of which places their new album among the year’s unforgettable ones.

Boat is a self-assured, mature body of work with a set of songs that sit beautifully together. The album has space to breathe, alter direction and progress over its duration.

Data Panik etcetera delivers up-tempo, four minute slices of pop-perfection and in a variety of styles.

Tooth may not be any less difficult to take in as a whole, but this time around, they've at least offered a slightly easier entry point into the sometimes bleak but fascinating realm they occupy.

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.

We never know what’s going to happen. Instead, we are merely left to wonder and observe.

Man It Feels Like Space Again is an astonishing confident record. Even though the textural palettes are familiar, especially to those who have been lapping up the psychedelic soup of Tame Impala, Pond and their Perth based contemporaries, the songwriting craftsmanship and vibe of every track varies from the last.

While AFI (The Blood Album) may not have the mainstream crossover potential that the band enjoyed a decade ago with Sing the Sorrow and DECEMBERUNDERGROUND, it is still a highly enjoyable album that both diehard fans and anyone looking for massive rock hooks alike should enjoy, despite faltering a bit toward the end.

Uniquely with Mess, they've instead dealt with the most colossal environment, making a grander statement about the aphotic bleakness of society in the process

Backwater being their most complete and mature release to date, the band’s creative dynamic remains organic and allows them to adjust themselves to a rhythm of their choosing, as they evolve as musicians and as a two-piece band with a wide range of possibilities.

McMahon’s record here is a more challenging listen than most, but you won’t know it at first. You’ll be enamored with the sunshine atop the themes of pain and love. Returning to reveal the darker elements is not a prerequisite for enjoyment, but keeps Freedom engaging long after the first listen.

Whilst not enjoying the same amount of attention or hype as her first few releases, My Wild West finds Lissie experimenting but still within the confines of her slick pop writing. It's an album made by an artist who is still top of her game.