Bazaar achieves what it goes out to do well, but could do with a few more of the mind-benders they are fully capable of achieving.

Although The Main Thing isn’t perfect, it serves as their version of it as we see Real Estate continuing to be both consistent and reliable as ever.

The record’s strongest moments originate in its audacity rather than precision: Desert Window opens up the ambient ideas she’s perfected in the past into riskier, roomier territory.

Heartache, healing, clandestine make-ups and complicated feelings have saturated pretty much all her discography to date, and the same broken heart bleeds well into the first half of her Girl Of My Dreams.

You do have to dig at times though, to forage and find your own touchstones. Without that effort you may be left wandering around the realm she inhabits admiring the craft without feeling its warm embrace.

Snooper’s vision of egg punk is more hygienic; the full experience is still reserved for the stage. They’ve fantastically magnified a glimpse of that for larger crowds, but in the studio, Snooper aren’t as wild as we thought they were.

There’s no doubt about it. Through their brand of R&B, funk and soul, they nod to legends like Stevie Wonder, Parliament-Funkadelic, and others, while putting their own infectious, modern twist on it.

Despite its tumultuous origins, In Quiet Moments is certainly a more accomplished record than its predecessor. An improvisational grounding and a strong lyrical brief have allowed the impressive list of co-signs to feel more pertinent, and in that, more able to successfully explore thematic material, both sonically and lyrically.

On The Line may not be her strongest work, no matter how much it aims to be but it proves that Jenny Lewis doesn't need to try too hard to become one of the greats. She's already been one for a while.

The album as a whole is a safer affair than Taylor’s previous releases, but for the most part it’s very good, and its cohesion isn’t necessarily a weakness. Still, it’s hard not to approach a new Self Esteem album expecting some kind of life-changing revelation, six months of therapy condensed into an hour-long speedrun.

Amphetamine Ballads probably shouldn’t feel like quite so much of a breath of fresh air--there’s plenty of evidence to suggest that it wears its influences (or has them tattooed, probably) very much on its sleeve--but it carries a threatening urgency so often conspicuous by its absence nowadays.

I Don’t Think I Can Do This Any More won't win over any of Moose Blood’s detractors, but despite those tracks featuring early in the album erring on the wrong side of over-familiarity, the band have clearly made a solid effort in developing their sound and maturing as an outfit. And though by no means a perfect album, it’s far less two-dimensional than cursory listens would have one believe.

Although this might not be a record that grabs you by the collar and slaps you in the face with its genius, for those who are happy to give a little of themselves to bring these songs to life, Along The Way could prove an excellent companion for whatever journeys lie ahead.

Blur the Line is nothing like perfect, but it’s a record scored through with an impressively quick progression; not only have Those Darlins matured musically over the past couple of years, they’ve found something they’d sorely lacked to this point--bite.

On the whole, Hotel Last Resort is nothing special in the band’s career, and doesn’t feel like it, either. It’s simply another solid effort from a group that has yet to put out a bad one.

Pe-Ahi, despite being entertaining, cries out for something we haven’t heard from them before.

On their seventh LP, Joyce Manor find a fine middle ground, and the result is their best record since 2012’s Of All Things I Will Soon Grow Tired.

Most importantly, at the turn of the arc Tatum rediscovers his grit and tenacity as well as his melodic poise, showing that Life of Pause isn’t just a fascinating dissection of romantic disintegration, it was also necessary.

Albeit diverging in duration from its predecessors at a mere eight-tracks, Lust for Life remains sufficient in scale to carry such a taste for semi-encrypted post-punk wisecracks.

Ultimately, Rock n Roll Consciousness is a collection of songs that would sit as comfortably in and amongst Sonic Youth’s back catalogue as they do within Moore’s own solo work. And that's no bad thing at all.

The distant foginess of nostalgia creeps in the background but doesn't overwhelm the record. A hopeful undertone allows that era to be reflected upon with acceptance and the old feelings to shine as clearly as they can through the mist of memory.

There is not as much variety on Fever Dream as “Alligator” had seemed to indicate, but there is a clear shift – it feels more open, musically, than ever before. There’s a confidence mixed with fragility, like a band born again.

While the 18-tracks teeter along the fine line of becoming slightly too long at certain points, it continues to offer an intimate compilation of her thoughts and emotions.

The LP is fourteen songs long, but never feels laboured. This is probably because in true indie pop tradition, most of the songs are under three minutes. With their jangling, sometimes-spiky guitar sounds and indie pop hooks; they wouldn’t sound out of place on the iconic C86 mix tape.

Though acoustic tonality may appear muddy, the confident voice of Supermodels reigns loud and clear.

All That Is Over is direct, furious, sometimes messy, but always alive.

Tidal Memory Exo is overwhelming, detailed, textured, and wildly bottom-loaded, but then it continues.

They never really embrace as much lyrical darkness as they did on their debut album, though, and they don’t exactly reach for the occasional glimpse of light either. As a result, All Your Happy Life is a lightswitch that keeps awkwardly flickering, intentionally making the mise-en-scène as unsettling as possible.