Unfortunately, aside from a couple of other stronger tracks (‘Gonna Get Better’ and ‘Towers and Masons’ – one of Brendan Canning’s contributions), the rest of the album isn’t something I have a desire to return to.

At times it seems to be too much under the influence of My Bloody Valentine--even the cover art evokes them--and their contemporaries, yet it does what it does very well and it would be harsh to overlook the fact that this is a strong debut in its own right.

Moh Lhean sounds just as complete as any other WHY? record. This album is the mark of a man who knows where he is in life.

This feels like a band overflowing with ideas in a productive way.

By listening to it, you are induced to disconnect from your surroundings, and to appreciate and find peace within the chaos of the everyday life and modern struggles. It’s not an isolation capsule, but you’ll definitely feel as though you’re floating to safety.

Overall, this is an album packed with huge riffs and honest intent from a band who seemingly have a new lease of life.

His music is meant to be both nakedly honest and cathartic at once, and this is where Skip a Sinking Stone succeeds the most.

Even if parts of Ad Infinitum might not come off, it's worth remembering that Lerner had to teach himself how to play half the instruments featured from the ground up. Still in his 20s, it feels like the project is another string to his bow as a musician, rather than a defining turn of direction.

With a release drowning in possibilities, Floating Points' latest is a humbling work of art, ridden in environmental discoveries, alongside an empowering sense of mental stability.

It is worth a listen but won't hang around in the memory for long, which is not what we've come to expect from a legend like this.

If you've already heard 2002's tenth-anniversary reissue of the group's debut album, Slanted and Enchanted, then you've already heard everything compiled here.

Native Invader is a step back from Unrepentant Geraldines, but still boasts enough quality to suggest that she has another stellar album in her.

The beautifully crafted lyrics of Things Are Really Great Here, Sort of are slowly offset by the melancholy implied in the title, at times through the stirring yet mournful violin-caressing and whistling Bird.

All in all, Highest Point In Cliff Town is a fun ride as a first album. But sometimes you have to sacrifice a little fun to really dig deep.

The growth Lucy Rose has experienced since her debut album is self-evident, she tackles universal feelings with unmistakable poetry, and while at times the album can feel drowned out, the overall feeling is one of understanding.

Lost Girls is fundamentally disappointing. It is an album devoid of originality from an artist who should be reaching for the stars instead of looking back into the murky past for inspiration. No doubt it will sell by the bucketload, but then people like Coldplay and voted in the Nazis so what do they know.

This album is more of a reset than a reinvention, ditching the guitar was meant to make or break them, but it's kind of done neither.

The marathon middle section paves the way for the record's standout final songs. 'Padova', in particular, slows Plaza's propulsion peacefully and formlessly.

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

What Hansen and company have accomplished with Epoch (and their previous albums) can only be described as tapping into the sublime.

The missteps are few enough they do little to tarnish what the band set out to accomplish, and the stronger songs here prove Exploded View is becoming more thrilling, ambitious and confident with each release.

The music here may float into the ear canal, but Emily King is anything but feather light. She crafts what can only be called humane pop, and it seeks to understand. Gentle music that, should you let your guard down, may just leave you stunned.

Perfect Shapes is a confident step forward. It all bodes well for whatever shapes come next.

The result is that, after a succession of disappointing pastiches, the boys have gone back to the good old days, and reawakened a three-headed monster.

Your mileage with This Mess is a Place may indeed vary, but more than anything, if you’ve had a lousy, or dull, day, it’s sure to jump start your tired mind into grinning goofily with its sugary, determinedly peppy rush.

The stripped down feeling of the record works to Islands favor on each of SIRHAS's ten tracks.

A$AP Rocky has always been an innovator and his creative attempts have always been bold. At.Long.Last.A$AP is no different there.

There's no faulting the album--it's stunning and well worth your time and money, but it's not their masterpiece, their seminal album. But that's hardly a criticism.