Butler has sculpted a complete, resolute collection of high-grade dance music.

It’s complex, witty, and--crucially--taps into a side of each man’s creativity in a manner hitherto unseen.

It’s Chairlift at their most vulnerable, but also at their most jubilant, documenting their burning passions with their most confident sound to date. Most importantly, it’s Chairlift at their most fun.

There’s a unique heart hidden deep with every album he creates, and Power Chords is no different. Open yourself up to the world of Krol.

I can see many listeners of all ages finding comfort across its eleven songs, bridging angst and hope as they navigate personal crises. Not only did Pierce The Veil understand the assignment, but they delivered it with almost flawless execution.

All things considered, Angel probably lacks the invention and imagination that it’d really require in order to be counted amongst the genuine candidates for the business end of the year’s ‘best-of’ lists; the sheer stylistic versatility that they’ve demonstrated, though, in swapping the claustrophobia of Crawling Up the Stairs for Angel’s wide-open spaces, should be enough to ensure that they’ll be there or there abouts.

The result is a collection of futile, brooding songs that tries to encapsulate bigger-than-life emotions but ends up being too afraid to truly delve into them. He could just need a little love from someone, anyone, to get that refined taste back.

It’s a record full of brilliant playing, solid gold songs and most importantly it feels like an honest assessment of where The Men are right now as a band and as individuals.

At its high points, Saviors is a reminder of why you fell in love with Green Day, a triumphant outing that will surely silence the critics.

Pokey will invite you to step away from the modern, more complex times and immerse yourself in a period of music from the mid western USA which formed the heart and soul of the country. It is a trip well worth it.

Abrasive but not completely inaccessible, it’s The Fall very nearly at their best.

The result is a lengthy cinematic suite of songs.... and in the rest; a record’s worth of epic, towering soundscapes built on sturdy prog and indie rock foundations.

Whilst no-one wishes further misfortune on NOTHING, Tired of Tomorrow proves they've learnt how to make the most of it and turn it into something dark, but beautiful. Its title suggests despondency, but its content should certainly leave them hopeful.

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.

Hughes sells it (and everything else on Zipper Down) in spite of relevance or degree of truth because he knows what any fan of Eagles Of Death Metal knows: they're here to entertain you and that's pretty much it.

Metronomy have stepped up from the mantle of electro-pop, and matured into the sort of band that endures. Excitingly still, they leave us with no idea where they’ll go next.

Like a well-oiled machine, the band’s constituent parts interlock with each other in punctual dexterity; supple musicianship that stands out more than ever on this robust sophomore affair.

It’s not for the faint hearted, and its point isn’t to make you smile. But if you’re up for the challenge Damogen Furies is a steaming black shot of adrenaline.

Instead of signaling a demise (of a feline nature or otherwise), the album represents yet another sonic rebirth from a band who has been making a methodical career out of rising from the ashes of inactivity to surprise us all once again.

Desperate Ground is another great demonstration of what makes this band one of America’s worst kept secrets.

Each of his records could have come from any year from the past twenty five, to the next twenty five. There is the sound of now, the sound of then, and the sound of Dave Clarke.

The highs of Makes Me Sick Makes Me Smile are vibrant and energetic. Yet the album’s title itself encapsulates both these highs and the record’s low points. Some tracks merely plod along; others stretch dissonance to breaking point.

Although ten days shows a more subdued form of this euphoria, the personality and intricate storytelling has not faded.

It’s a record certainly fine enough to ensure the pairing will have no issues sprinting to the upper echelons of pop aristocracy.

While their aesthetic hangs in the balance, they’ve proven on The Age of Fracture that they have it in themselves to achieve cohesion.

While glaive clearly still has the chops to record something great, his debut falls short of the creativity that marked his meteoric rise to fame.

Different techniques are used throughout the album to create drama, allows a variety of emotive narratives to be explored.

All of those tracks ["God’s Plan," "My Enemy" and "Wonderland"] feel sparse, built softly with a light touch, which is why the overblown, full-steam-ahead manner of much of the rest of the album is so maddening and--given their past pronouncements on big studios and producers--so utterly perplexing.

This second album is less of a record than an experience. You truly get a sense of cosmic alignment here.

While certain songs definitively outshine others, they all contain their own character and energy resulting in something not only haunting and enigmatic, but something rather stunning.

By virtue of its accessibility, Black Bubblegum presents itself as the most singular album Copeland has produced to date and who knows, maybe some pop bangers will be coming our way after all.

Still is somewhat of a step forward for the alt-R&B star, but often loses its way with repetitive songwriting and a lack of shine; its stillness might be too lax an angle.

What it evidently lacks in ideas and concepts, it makes up for in well-channeled cathartic energy.

Born In The Echoes continues their fusing of psychedelic head music with the dancefloor, and while it doesn’t break new ground, it’s a timely smack on the nose to the pretenders to their throne.

There is undoubtedly more beauty in Ullages, but darkness always seems to linger in the background.

A short album of promise and potential stretched too thin by its stifled delivery.

Toro Y Moi’s overreliance on autotune can also stand in the way of his lyricism at points which is disappointing. Ultimately though, Chaz Bear’s decision to take himself less seriously is an experiment to be considered broadly successful and sees the release of some of his more inspired and infectious material in years.

Its best moments also its most agitated. For those of us keen on more of the same from York and co, let's just hope she keeps her beady eye on the anxieties of the everyday and not on paying a visit to outerspace.

Her sonic advancement doesn’t smack you in the chops are much as it did on Interstellar, but there’s notable alterations and plenty of reasons to love it regardless.

Death Valley Girls’ music is, for better or worse, calculatedly disposable, and the band make no real attempts to secure lasting hooks or forge undeniable melodies. What they do, they do well, and that’s more than enough reason to give Under the Spell of Joy a spin.

The formula might not be a new one, and ultimately Seratones are unlikely to change the world, but they will make your day.

Brandon Coleman's debut album is a funk-fuelled cacophony that some will adore, but its over-commitment to a narrow sound means that, unless you fall in love, you may find limited replay-ability in this album.

Beth Orton has fluidly transformed her trip-hop+singer/songwriter roots into a fresh, original sound, which will surely resonate with both her longtime fans and new listeners alike, while providing a rich foundation for Orton to build upon during her third creative decade of casting intoxicating musical spells over us all.

It’s lucky for us that Joyland so often yields gems amongst the heavy strata of computerized monoliths.

The production is perfection, and if you're in to classic pop musical cliches that defined electronic music in that era, Iteration becomes more of a celebration of nostalgia than perhaps a narrative into something deeper. The trip back is kind of fun, even if it is not directly intended.

An album this strong, delivered this late into an artist’s career, would usually be given an ugly tag like “return to form” or something equally crass. However, in Byrne’s case, it’s simply a continuation of what has been--and will hopefully continue to be--a glittering career full of highlights and continuations of form.

It can be powerfully sweet, but it’s never twee. It’s often busy, but never cluttered. Flowers is, put simply, a beautiful album.

Herein lies the central problem with Devendra Banhart’s latest record; there are moments to savour, but for each of these there’s at least one frustrating or disappointing moment to counteract it.

If You Leave is staggeringly beautiful from beginning to close, a catharsis that’s both bracing and woozily amniotic.

This compilation, of tracks from 2003-2013, captures what’s utterly brilliant about the A&C roster by mixing the hits with rarer tracks, giving perhaps the definitive overview of the Canadian music scene of the past ten years.

There is something intangibly magnetic about In Love, and it feels like a wonderful, igniting record--when so many other “indie” records fail to stir any emotion other than indifference.

It’s a solid start from this supergroup, but the tug of old strings still dominates proceedings a little too much to mark this out as anything wholly unique in itself. But for some, that’ll be just fine.

Waverly is just that: a study of tension, mysticism and some natural elements thrown in for good measure.

It’s somewhat beyond comprehension that their unique remedy to feeling down in the dumps hasn’t broken in the UK yet, but believe us when we say that this is an album, and a band, that deserves your full attention.

There is a little filler to strip, and Little Green Cars are still a work in progress--but they have already honed a seasoned sound, paying homage to peers beyond their years.

Push/Pull is brimming with stellar cuts. Every track is an intriguing mess, a cavalcade of hodgepodge elements that when smooshed together, far from sounding like a steaming dump, are riveting.

This does feel like an album of transition--about the journey rather than the destination and its more sophisticated moments point towards the idea that The Wave Pictures are a band which are only going to get finer with age.

This is a record that repays multiple listens, and may prove to be The Deep Dark Woods’ most enduring album yet.

“Vibrant Beast” is an entirely apt term to describe the complete album, as well as serving as its rowdy closing track, with Marijuana Deathsquads emphatically proving once again that there is indeed beauty to be found in electronic dissonance, as well as plenty of original artistry in the band’s boundless creative exploration.

The album’s second half doesn’t let up on the grooves or the gusto.

Their fresh, invigorated sound arrives like cascading droplets of water from a waterfall whose source you’ve yet to locate through the mist. And with Lease Of Life, the effervescent Scottish crew has once again served up a vibrant collection of gems that will still sound polished long after the glimmer of this era begins to show signs of fading.

The Fine Art of Hanging On isn’t entirely free of faults. Hemming and co's way with the more downcast material is so compelling that, for all their strengths, some of the jauntier material seems lightweight in comparison.

Neither comprehensively “here” nor “there”, up nor down, eager nor listless, these eleven tales--while perhaps lacking more than three obvious peaks-- betray a quiet confidence and command that will surely see Sea Pinks properly arrive.

Eleven different audio artists form ideas, take chances and augment the backbone of a record which at its core, is Hubbert all over.

While the first three songs here are all Rock 'n' Roll ebullience, on the final three Furman explores a more plaintive side to his writing.

Closing track aside, this is a mostly compelling and wholly fun trip through modern pop with a charismatic protagonist, that hangs together way better than it should.

The New Monday would be a great record to put on whilst cruising around Detroit in the dead of night, the only thing holding back this album is that Shigeto sometimes takes his hands off the wheel.

Clearer in vision and production than debut Shapeshifter, Crush Crusher is especially potent in the trios that start and end the album.

Goldie and Davidson’s sound is full and rich, and as Subjective they have managed to create an electronic album drenched in melancholy and distorted nostalgia.

As music made for the “Ah! I knew I’d heard that before” crowd, it’s successful. As a synthesis of old and new, it’s successful. As an album of dance music, it’s incredibly successful, and leaves no room for any cynical raised eyebrows as soon as it gets going.

Free and unshackled - while also troubled and brooding - is a decent way to summarise this hypnotic, deceptively sparse gem of an album.

Overall, Modern Dread is an insightful, authentic record delivered with understated panache, and Denai Moore’s captivates despite minor imperfections.

Energy is something of a misfire for Disclosure, it is an album that opts to play things safe and the consequence is an unremarkable album that feels at once overthought and simultaneously underdeveloped.

What fans will appreciate most about this collection is how Del Rey's poetry seems to give us a much clearer understanding of her than than her songs are able to.

The execution isn’t quite perfect - at times, you can feel the record trying, as if it’s labouring under its own weight. But the band, and particularly Ross, deliver it with such honesty that that much can be forgiven.

This record is shamelessly Citizen. Each track holds its own distinct mood, along with the signature poised aggression that they've meticulously sculpted throughout their career. ... Their strongest work to date.

By the end of Baw Baw Black Sheep the one thing we’re left wanting more of is Snow himself. His presence feels secondary to the album’s weakest cuts but, when given space to shine, the artist dazzles.

It’s not all perfect - “Czech Locomotive” and “Toast” drag - but this is a refreshing and genuinely engaging album.

While some of the record seems monotonous or lays flat while the track brings up certain elements, it’s a stew of comforting sounds and the songs which hold their own are a far cry from boring.

So much is happening on Now Or Whenever, but it somehow adds up to even less than the sum of its parts.

Nobody’s Home struggles to grasp the organic feel of Badkid throughout its run time, but tracks like “Youthenasia”, “Riot”, and “Alone Again” make whatever heights are out there for him an eventuality.

Sea Girls are taking the torch from guitar-pop pioneers, and telling stories with just as much strength.

While many of the right components are present, About Last Night... feels like a plate of empty calories; struggling to reach a sense of genuine empowerment on account of its overstuffed production and lyrics that are vague to the point of meaninglessness.

SUCKERPUNCH sees Moriondo in dialogue with all sorts of characters and musical methods, hitting peak creative heights, but sometimes lacks dialogue between its component parts. Moriondo’s vision, when it’s clear, is brilliant and radiates throughout the record, but sometimes in the jumps between moods can get a little hazy.

An album promising to be, with a sly wink, True Entertainment, turns out to be all that and way, way more.

It’s the subtle touches that create an overwhelming sense of unity on Goodnight.

Porij’s confident and assured debut delves into their love for not settling for one genre. Taking you on an adventure through emotions and soundscapes, it’s a fluid record that never stands still. It will appease long-time fans with its infectious and catchy grooves, as well as welcoming new fans to the party with open arms.

It's a soothing, uplifting listen, perfect for those moments when you need a gentle, positive presence in the background. But for those seeking something more, something that challenges the boundaries of what Tycho can do, this album may leave you wanting.

Tracks are splintered with sudden bursts of noise, industrial beats, and disjointed synth layers that, on the surface, seem messy. But within that chaos, cumgirl8 finds a hypnotic groove.

Like so much of their previous output, it’s an incredibly bittersweet listen, but this time it’s less about Lewis’ wistful reflections and more to do with rueing what might have been if they’d continued; those first four cuts hint at a genuinely superb record having been in the works pre-split.

New Fragility is an easy album to dismiss, especially when it’s such low-stakes (old band, low-key release), but it’s even easier to just enjoy it for what it is.

Despite only being seven tracks long, this album is substantial and will keep audiences invested.

The stronger songs sound intentionally raw and impulsive; the weaker songs like demos waiting to be fleshed out.

Enter The Slasher House is stylish, daring and captivating; spooky, but not scary.

Crucially, New Misery never sinks--it’s lightweight enough to ensure it never gets weighed down.

An album that makes no apologies about its struggles, but it’s one of many moments that confirms Cara’s journey is as authentic as it is unpredictable.

Each track is married in evoking a similar sense of a vast misty landscape and hazy melancholic mornings, though the albums finale does this particularly well.

Optimist is unlike any other debut, as this is not an introduction but rather a fateful reckoning.