This album is yet further proof that John Maus has no boundaries and relishes unearthing new patterns, sequences and progressions. He’s in his element when creating music quite unlike anything else.

Ewald’s writing is comprised of a number of observations that often appear fairly minor, collated into something that is at times quite evocative. There are moments however where it feels more uncoordinated, less refined, and unfortunately it is these points that prevent the record becoming the disarming gem it promises at times to be.

If you can let Pacific Daydream completely envelope you; throw you to the beach that instigated the album, then you’ll find sheer happiness here. If, however, you go in with any expectations of than that, you might find things a bit more difficult.

When you hear it, you can tell that these songs were bursting to get out of Ware; that she’s delivered them with such nuance and intelligence lends considerable credence to the idea that her more devoted followers have proposed ever since Devotion. She is, by a distance, Britain’s most underrated pop star.

It’s so cohesive in its theme that it can become overwhelming.

The album is a little verbose in places as Okereke delights and demeans in equal measure past loves and lovers.

Perhaps the wildly-inventive producer isn’t inspired to break the mould, or to look for a new direction, but he is a producer sure to contrast this low with a high next time. It’s alright as it is, this record, but no more than that.

The Australian duo's first full-length feels whole and complete, and with a distinctive sound.

Suffice to say, Alicia Bognanno is in her prime as a musician, songwriter, and producer, and somehow comes out of Losing better than before, proving herself as one of the most consistent and impressive artists of the decade.

Overall Dissolve is primarily concerned with the cultivation of atmosphere, which is strong and sustained throughout--even across the few weaker tracks--and it is a promising introduction to an artist with a clear vision and a quietly experimental approach.

Draped in synths and bouncy, Top 40 bass lines, Offering turns out to be a lacklustre effort from a group once smothered in critical praise and year-end listings.

Musically, it is not quite extraordinary, yet this could all change in a live setting, and it remains a more than worthy return for a group who are experts in their craft.

Destroyer’s new album, ken, is Bejar’s best work since his masterpiece.

Beck’s Colors is a musical invitation to a soiree that ultimately lacks both substance and staying power, and is crucially missing the self-awareness that something more important is at stake than merely having a good time.

It’s this invitation into her most confidential thoughts that makes the album equal parts sensual as it is unflinchingly confident, and it’s the ability to inhabit so many subtleties of the emotional turmoil of relationships that makes Take Me Apart such a memorable album.

Occasionally the electronic sounds can seem too familiar and overused.

20 Years in a Montana Missile Silo sits comfortably at the Pere Ubu table as the main course of an illustrious career. Gorge yourself.

As You Were is practically all comfortable, predictable, Oasis-without-Noel comfort food.

This is a collection that displays consistently and rigorously the undervalued, underexposed talent of one of the country’s best post-Ray Davies songwriters and one that, despite its length and sometimes haphazard nature is a fitting milestone to this prolific, profound and playful master of the songwriting form.

The Ooz is a meandering, disorientating trip through punk, ska, jazz and hip hop--held together by Marshall’s menacing vocal sneer.

The truth is that they are both thoughtful, sometimes sentimental musicians, with voices that can sing of love and hurt just as much as eating croissants (“Continental Breakfast”) or friendly girls who insist on touching your face (“Untogether”)--and this is delightful.

The Weather Station is a model example of expanding an act’s sound without losing sight of what made them great to begin with.

Ultimately, MASSEDUCTION defies explanation and critique, rendering the critic a dead weight in the dust of its ever-accelerating sucker-punch of ideas.

It certainly sounds very much like the record he wanted to make, and nothing like anything he's done previously.

Interestingly the relationship described in Tenderness is between Standell and a new lover, which you would expect to be a difficult topic for Blue Hawaii to collaborate on, but they are alarmingly mature in the way they support each other on this musical project.

[2015’s The Pale Emperor] was the most revitalised he had sounded in years. That energy hasn’t flagged an inch on Heaven Upside Down.

The band’s strongest set of songs to date. Between the increased production, the reaching-slightly-too-far aspiration, and sharper focus, AYP comes closest to fulfilling the promise shown since Citizen’s inception.

The sense of place that Yumi Zouma finally seems to have found on Willowbank brings an album that’s bristling with energy, albeit one that does feel overstuffed. And yet, even in the face of that, it’s hard not to be swept away by Willowbank.

This weepy and emotive record will probably be glued to many turntables; the ideal soundtrack to a morning coffee.

Acetone may have preferred to follow the silent way, but they were the strong, silent types, which makes the contents of 1992 – 2001 resonate so strongly now.

V isn’t a huge reinvention, more a subtle reboot, and a move which has worked out perfectly. The Horrors are hardly new to making brilliant albums--they did that with their previous three--but V is better than them all.

For ultimately, in true Almond fashion, this musical nod to 1960’s Italian cinema is as much tragedy as comedy. The real tragedy however would be not to check it out.

By its end, Thrice Woven not only serves as one of this year’s most promising metal releases, but it also stands as something purely monolithic and even transcendental--a collection of songs, showcasing a band’s evolution that leaves you in full levitation, locked in paralysis, and at a moment’s notice, you dissipate completely wondering how you made it home.

They feel more effective now that they’ve found a way to write as a focused beam rather than a eclectic lineup of individual musicians, and long-term followers will be thrilled by the album’s back half, which retains their well-established experimental bent.

Desire is the sound of a group who have thoroughly found themselves and sees them standing supremely confident, whilst retaining elements of older material including “Wonderful Life” and “Miracle”. Seemingly, 2017 is the year of the upbeat indie dance record, and it belongs to Hurts.

Each sophisticated melody and harmony may seem jarring and sometimes uncomfortable--as is the way with jazz music--but underneath the spiritual solos and out-there notes, there is a simple, familiar sound--and here lies the beauty of the Harmony Of Difference.

This message of positivity, strength and optimism is one that is weaved throughout each track on their new album Ash.

While it satisfies the need to move around and proclomate, the end result of V proves hapless as well as frustrating to see because the Bronx have an immeasurable amount of talent--it’s just too bad that this far in, they haven’t managed to harness it entirely and create something more monumental.

The magnifying glass is on everything with this release, and it results in something distinguished and quite frankly mammoth.

Bereft of any shine or polish, Aromanticism is a piercing debut collection of songs of remarkable intensity.

The album’s sonic homogeneity lends it an air of sameness at first blush, but the details burrow their way out on subsequent listens; the guitar work, in particular, offers fleeting doses of delightfully understated melodicism to counterpoint the slow industrial grind beneath.

Their quality of music and precision is outstanding, and while referencing so many of our favourite artists from eras been and gone, they perform and compose in a new light with such integrity that makes them a step above the rest.

The album drifts by comfortably and could benefit from a few surprises, both tonally and musically. However, there are definite standout moments, such as “Oh Oh” and the bouncy “Angel”.

In the end, Ununiform has it's peaks and valleys.

where Neuroplasiticy brilliantly built on Cold Specks' debut and breathed life into every track, Fool’s Paradise excels at singular moments and seems to struggle for air and space overall.

Ultimately Mulvey’s record is once again intriguing, engaging and diverse. A record that is equally accessible and rewarding on multiple listens, the softer side of pop can take plenty more of Nick Mulvey's music.

With Strange Peace, Metz have created an album that still largely has one foot rooted in the best of their past, but sees the other stretching forward into a future that is just as riotous.

Despite such intense themes, the record manages to stay light and joyful, revelling in the potential that music and dance possess to draw communities together and find resolution.

A complete throwback to everything that’s been missing for over twenty years, INHEAVEN have blown the cobwebs off and are ready to kick some life back into a stale scene.

Wonderful Wonderful is not an about-turn, not an exercise in New Earnestness, but the latest step in becoming the most concise version of themselves--it is true because it concentrates the traces of what they have always been.

It’s pretty and smooth; the shimmers and reverb of their earlier records have been compressed into a concentrated essence of what made them great in the first place.

Hiss Spun is a hypnotic, cyclical work that becomes transformative with repeated listens.

Though it may seem ironic that for all the glitches, warps and pops of their earlier material, Mount Kimbie find themselves gravitating towards the simplest of beats, Love What Survives is a close examination of how rhythm can define and alter our perceptions of electronic music.

Each track comes with a reminder of how trauma makes monsters of us all, but in the centre of it all Danilova’s strong, clear voice is the will to keep going.

What really sets Concrete and Gold aside from the rest is that you don’t feel this one has been written with stadiums specifically in mind.

There are a few moments that miss their mark--recent single “Someone” has a forced keychange that belies its soaring effortlessness--but for the most part, Lovers is a slick, listenable debut with a strong sense of direction and poise.

Once the record's over, you'll feel like you’ve been dropped in a dark part of town after being left heartbroken--which is exactly what music like this should do.

The result is an album that's uplifting without stumbling into the saccharine-dosed forced jolliness that particular word might bring to mind.

He is a rare talent that we must cherish and allow to scratch what ever creative itch he wishes to. With I Tell a Fly, Clementine proves he is indeed an artist of extraordinary ability.

Before the Applause is a shattering listen, a confrontational record which violently switches genre with each song but somehow works marvellously. It's hands down the craziest album you will hear this year.

The arty fusion of cabaret, baroque and psychedelia somehow places it between Beach House and more recent Fleet Foxes, but does not always make for the easiest of listening.

There’s a reason he's thought of as one of the pioneers of electronic music; he manages to create more than just simple sounds--instead, there’s an idea that the big picture is far bigger than you’d ever care to realise.

It's one of the rock albums of the year, and if it is the case--as is rumoured--that it's their last, then it's also a perfect swan song.

Try Not To Freak Out is a decent album, but on the whole, there’s really not a great deal to say about it, unfortunately.

Like the rest of Ranaldo’s work post-Youth, this is a record that suggests that he was perhaps always the member of the band that had the most traditional songwriting sensibilities, and this is once again a thoroughly solid alt-rock effort with just enough of an adventurous slant--particularly, the flashes here and there of glitchy electronic textures--to please casual fans of his old outfit.

It’s a record which blossoms with this kind of randomness but it rarely looses soul and groove. Forget the Superfood of old, because this record is different for all the right reasons.

It's a beautiful piece of work from an artist who is destined to walk among Canada's elite singer/songwriters.

If Half-Light feels a touch scattershot, it’s likely because it’s the result of years of his creative energy being pent-up on the road with the band when he’d have much rather been at home in the studio, and it doesn’t dilute the emotional resonance of his best lyrics here, which are a world away from the coy collegiate that Koenig presents as.

The Source is a work that showcases a great rhythmic and tonal diversity throughout, floating between a myriad of influences and arrangements.

Their self-titled debut is one that bubbles with retro rock fuelled passion.

One of Chung’s strengths is not overstuffing his music, but there are moments where Parallels’ nonchalance makes it feel like less of a full album and more of a holdover between more momentous projects.

Death From Above might have pulled their brand of wreckage rock even further towards the dance floor with this, yet it still manages to further the rawness and execution they’ve become so mythical for. Most of all they feel like a band without any limits here.

Burhenn would undoubtedly prefer the circumstances for getting back together with us be different but, either way, the world is an eternally mercurial place and Be Here Now captures the restlessness of an artist who wouldn’t want it any other way.

These tracks aren't revolutionary classics on the same level as “Killing in the Name” or “Fight the Power” just yet, but nevertheless, they raise a fist to all those who continue to fight ignorance, hypocrisy, brutality and the elite.

It’s this ability to take the familiar and present it in dramatically different forms, with the potential for rediscovery that this allows, which makes Hitchhiker--faults and all--a must-hear for Neil Young fans.

The mystery of Alex Cameron continues to be unsolved, but after Forced Witness, his identity and place in the indie world seems to be much clearer, and at times, all the more impressive.

This isn’t The National’s finest album--for my money, that’s still High Violet, or if I’m feeling fruity, Alligator--but there’s much to cherish on Sleep Well Beast.

VanGaalen’s sixth album shows him easing more into his bright and disorienting vision.

Like the best of Amos’ work over the past 20 years, what makes Native Invader exceptional is its complexity: songs are laid out like puzzles, ready for the subjectivity of the listener, with no obvious interpretations.

EMA is talking to us in Exile in the Outer Ring, and we ought to listen.

The album captures a mixture of genres that come together to create a really vulnerable and organic sound. Kesha uses Rainbow to let her listeners into her struggles, thoughts and true personality, something missing from her previous releases.

Omnion isn't hugely different from the Hercules albums that came before it, but that's not really the appeal of the group: their records have always been episodic because of their guest vocalists, and Omnion feels like checking in with a group of friends, the focus shifting with each new song.

Hippopotamus feels like the latest volume in an alternate cultural history formed of all the weird things that only Sparks are audacious enough to make songs about. It’s an admirable commitment to silliness.

[Terminal matches] the sweaty intensity and unstoppable forward-momentum of Circle's inimitable live shows. The material is extremely potent, too.

On the whole Good Nature brightly evokes the feeling of leaving your room and opening the doors and stepping outside.

It’s soppy in the right amount, but it captures the humour and truth in trying to make it through that quarter-life crisis. While it might never really reach the dizzying heights of Alvvays, it still shows the band head and shoulders above the rest.

Every Country’s Sun is an intent-drenched return to form from a band who, thank Christ, have never once abandoned it.

Whether it's the drifting of "Singalong Junk," the stripped down, jazz-cat prowling of "Mountain Moves," or the electro-tripping of "Sea Moves," Deerhoof have simply outdone themselves with Mountain Moves, an album that requires as much focus as it does imagination.

This is, by a long distance, the most introspective work that Murphy has yet turned out, and you can feel very palpably the weight of all those anxieties he cited during Shut Up and Play the Hits.

Hinson’s yarn-spinning ability that was so beautifully displayed in previous albums has not mellowed--it’s here, and rawer than ever.

Elytral is rarely a passive listen: Epworth’s maximalist approach means that every song throws up at least one surprising moment. Even the more pop-leaning tracks have uneasy elements.

Iif Lo Tom lands somewhere between dumb hard fun and thoughtful jangle it likely wasn’t a creative direction anyone agonized over.

If you aren’t into skits and novelty voice acting then you might struggle with the twenty five-high track listing. If you are though, you’re in for a treat.

Most of the tracks come in at under two minutes long; short drafts and ideas stitched together with smoky loops and obscure vocal samples. An atmospheric and pensive sound shrouds the majority of Rainbow Edition - the only thing missing is the underlying grooves that were found on their past releases, leaving some of these beats slightly too industrial and cold.

Music for People in Trouble perhaps doesn’t have the crossover appeal that Ten Love Songs had, and its head-on engagement with contemporary struggles will certainly not be for everyone. But for those who are done with escapism, at least for an hour or so, its sustained mood brings rich rewards.

A much more cohesive album than ...Like Clockwork, one that seems hell-bent on turning out an incendiary dance-rock record rather than constantly shifting stylistic shape in the way that last LP did.

It may be a relatively short listen, which can easily breeze past you if you don’t pay attention, but Swim Inside the Moon is a warning shot, a sign of things to come. This is just the beginning for Angelo De Augustine--an artist full of potential.

Obviously seven CDs need a major investment of time, but the investment is certainly rewarded.