It is a shame, as when this album shines, with tracks like 'Kid Corner' and even 'Ruination', it seems like Archive could have really been onto something here, but have just missed the mark.

His intensity is consistent and his affinity for recognizing his fans favor is respectable. He doesn’t change things up much sonically, which is a welcomed critique.

At just 40 minutes in length it's concise to say the least, but the result is a hearty meal that will subtly introduce you to a new flavour every time you return.

Not so much breaking up with old ways of thinking as redefining and refining them, Bear In Heaven have gone back to what they do best.

There's an abundance of feelings created in the listener from this album when played in full.

Castanets manage to keep those raw influences in sight, whilst tweaking and twisting them into something different, and at times intriguingly strange.

This is what the whole record has managed to capture; that truth is indeed a beautiful thing, and it is explored with vulnerability and grace wholeheartedly.

This latest effort isn't comparable with the visceral exoticness that Jimmy Page began to find on Physical Graffiti, but a more focused and staunchly unified project, designed to push the conventions of improvisational rock music and provide Rhyton's competent credentials with actual substance.

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.

Like Janet Jackson's Control and Madonna's Ray of Light before it, here is a record that should act as a shining light of how pop music should be done.

While Starboy may not be a giant creative risk stretching away and beyond what we've come to expect from The Weeknd (like many of his A list peers such as Beyoncé, Rihanna and Kanye West have done with their albums earlier this year), it's a continuation of Abel's edgy salacious narrative and a complete assassination of pop's thematic normalcy.

La Luz (which means "the light" in Spanish) have done an excellent job reprising the nostalgic vibes of West Coast beaches by mixing them with more urban influences, and therefore achieving a steady, cohesive album.

Younghusband's new record shows the band can turn out a great sounding bunch of songs and the odd moment of brilliance. If they spent longer letting their songs grow before unleashing them they might have produced something more distinctive.

Subtlety is in short supply on Lost Themes II, with soaring guitar solos, industrial synthesisers and violent percussion throughout.

SOHN doesn’t drown on Rennen, nor does he tread water, sticking within the confines of the music he’s already created. Rennen is SOHN diving into new creative depths, and triumphing.

After a year of baited breathing, we seem to have arrived at an in-between. There's still plenty of fun to be had in the waiting room, but let's hope he has more in store for the next appointment.

Yes, it's clear that this is a more matured, polished Mr. Scruff that often bristles with darkness, but it's a more mature Mr. Scruff at that sacrifices the puckish rogue charm we all fell in love with.

Although it becomes a bit too intricate (and therefore slightly boring) at times, the album is a fine example of the infinite possibilities created by the so-called post-indie/hipster-psych scene without taking itself too serious.

NEHRUVIANDOOM is not the album to catapult Bishop Nehru into the mainstream but it's an invaluable step in his hip-hop education.

Quite possibly rushed so the house number could match the year, J. Cole's latest album is a damn good attempt, but it just isn't the real deal.

Though side A is a mess, it at least sounds like a mostly-original mess. On the latter half, they seem to say “fuck it” and just go for plagiarism, in whole or in part.

Each of the nine tracks holds its own.

Unfortunately after [the first two tracks] the album settles into a post-coital snooze that it doesn't really wake from.

The best place to file Zoetrope would probably be on the shelf marked 'albums worth a punt if you have a few bob spare'.

You don't get the sense of elation one might receive for being paid to pose for an art class because to listen to Dawn Golden's debut of course, you pay them for the privilege.

There is an authenticity that bleeds through this album. It is proper DIY- rugged and unique enough to know this is coming from a human, yet polished and carefully crafted enough to feel the pride and excitement in sharing a work of art for the public to claim.

Phantastic Ferniture’s chemistry, then, is convincingly smooth. Their new self-titled LP dashes through fields of warm riffs and detailed melodies, scooping up a bouquet of wildflowers whose imperfections only add to its beauty.

It’s a solid debut that establishes Dizzy as a band to watch out for because, like their beats, they’re sure to linger.