While at times the overall production and heavy effects can take away from the impact, Good at Falling is ultimately a work of emotions. The album perfectly represents what people go through while trying to hold on to relationships, knowing they should let go.

If your life needs to be stripped of its bombast for a little while, Real Estate remain a steadfast companion for a little R&R. Just don’t beat yourself up if you can’t sit through the whole thing.

Immersion do well to paint imagery in the listeners mind with, “The Humming Sea” rising up with an ocean of analogue synth pad like sounds representative of this image as though it is a reality. It is this ability to create an easily interpreted image of the sounds that make this album so easily accessible to a listener.

The album is definitely progress, but maybe not as much progress as those of us eagerly awaiting new music were hoping for.

It is polished in the sense everything has a place. Sleek track productions can’t hide the energy rattling in the bones of the band. They were able to bottle and utilize the catchiness found in electro-pop and showcase the best of those elements when applied to a rock band eager to branch out.

Where Brighter Wounds works best is when the band shows an element of restraint.

Dragons has taken some getting used to. With each listen, new details emerge.

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.

Although the performances on Live in Paris are spot on, they don’t fulfil the promise of the concert. It can’t convey the feeling of the floor moving during the chorus of ‘Bury Our Friends’. It lacks the visual component of Tucker and Brownstein kicking and howling while playing.

Deep In The Iris is full-bodied and assertive, while their lyrics address both the personal and the cultural.

It's another tour de force for Wales' musical explorer-in-chief, packed with the fine tunecraft, psychedelic references and experimental instrumentation we've come to expect from him.

Whatever the expectation might have been ahead of the album, Wet Will Always Dry is, all in all, an extremely Blawan album; wall to wall club bangers with no fuss and no fanfare.

It certainly doesn’t break any new ground, but it’s a committed, charming throwback to the early years post-millennium, when rock did one of its perennial about-faces, away from prog-y electronica and back to the days when wearing leather and ripped white or red t-shirts was actively encouraged.

Rather than fall in love with this record from the get-go it needs a little airing and breathing time to get to grips with the finer notes, but it's sure to keep you coming back.

It's a cliché to say that an album needs a few listens, but it's true of Plastics, as each new play reveals more depths.

Familiars is bleak and dreary, potentially at the cost of dragging in certain spots. However, those willing to spend enough time wrapped in its moody embrace will be rewarded with a quite beautiful experience.

It may struggle for attention-grabbing fireworks, but Build a Boat to the Sun is completely endearing.

Helen have turned out an otherwise pleasing debut, and it's nice to hear Harris pushing her otherwise ghostly music into lusher and sunnier places, but it doesn't prevent The Original Faces from feeling a little underdeveloped and like a missed opportunity by the band to take the kind of music they are making in more interesting directions.

On Last Building Burning, Cloud Nothings provide their take on a stripped back album. Belts were loosed, fingers bled, and there was probably some howling at the moon. But in a world so interconnected, you can’t forget the primal that’s in you still trying to make sense of it all- knowing a starry sky is the back drop to honeymooners and prisoners.

Happily, the quirky musical moments that characterised the London band's 2014 debut Breakfast are sprinkled over Brilliant Sanity, resulting in 11 pleasingly playful songs.

The circular fate of a world that is doomed to repeat itself is told on the thrashy ‘Ouroboros’ which is riddled with scuzzy feedback, but Ted Stevens’ melody manages to crack through the darkness. It’s these under-written melodies that somewhat cut the bleakness which is on offer here. That’s not to say there aren’t any moments of hope. There are.

Your more serious fans and completists will probably find something like this a welcome addition to their collection. Despite it not offering many revelations or surprises, The Bela Session still serves a fun little snapshot of what was soon to be one of the more creative and influential 80s post-punk bands in their infancy.

The saturated levels of Scandinavian pop and the mounting pressure on such artists' first albums all could've worked against Karen Ørsted here, but No Mythologies To Follow remains dynamic and expressive enough to work past these blocks and hint at very, very bright things.

As with everything Tennis have done to date, it still sounds very light; the percussion, as usual, is kept unobtrusive, and Moore's vocals never threaten to bubble over into a snarl; you can't help but wonder what they might sound like with the shackles off, but perhaps that's to miss the point.

Unfurl is much like RY X’s previous record Dawn, though tinged with moments of evolution. Lined with a rawness that could be sometimes overlooked; it seems to find solace in giving an emotional response to me from its creation.

Whilst it makes for an interesting record, it does mean that it always ran the risk of dividing opinion. The album is however, not without its highlights and for fans of shoe gaze, post-punk, or noise rock in general, it's well worth seeking this record out and letting it consume you.

Aside from two or three fillers, this record should be applauded for doing what Consentino does best: writing melodies that stick in your head for days.

WATTBA still measures slightly disappointing in terms of what we've seen and heard from each artist individually, even this year. What A Time To Be Alive, even as a concept centers itself around the idea of 'now,' instead of striving for the notion of 'classic.' So I'll enjoy it for the time being.