He’s created an incredibly ambitious, soulful avant-garde debut.

On the whole, this is a wonderful album, and a suitable follow-up to Bliss Release.

It’s hard to single out a standalone track from this impressive debut and this, in itself, is testament to the LP on the whole.

It’s pop music of the highest calibre, music for the head, heart, feet and everywhere in between.

Whether he is the influencer or the influenced, there’s such a clear creativity and worldliness in his music, that Radio Songs should be listened to multiple times to really get the depth of where he’s taking his sound.

Ultimately, Everyone For Ten Minutes doesn’t do enough to differentiate itself from the band’s previous outings. Despite some lovely, refreshing variations sprinkled throughout – like the atmospheric slow burn of opener “Sideways” – this is largely the sound of Antonoff planted firmly in his comfort zone.

It may ultimately be a footnote in his prolific career, but the album's restrained, nuanced intelligence is a testament to Marshall's pure talent and compelling persona.

Though Never the Right Time may be more introspective and relaxed than previous releases, Stott's unique take on nostalgia and the exploration therein is intriguing enough to make up for some minor pacing issues. Andy Stott can still do no wrong, even if his sonic landscape sounds so distinctively so.

On You can’t kill me, 070 Shake’s pursuit of new musical frontiers is as intense as ever and even though some parts of this project let down the rest, it is overall a thrilling experience that signals growth from an artist who has a lot more to give.

In short, it feels like Ellie Goulding at her most honest, and her most heartfelt.

After The End is frequently great, but it’s also frequently over-familiar.

In other words, Moderat have stepped up to the plate and then some.

Despite all of its 33 minutes being recorded in a home built studio that also doubles as a brewery, there’s little to suggest anything particularly wacky rubbed off on the sound.

This is a very tight set, sympathetically produced and moving towards the mainstream.

Something On High could definitely do with just a pinch more of life at times.... But regardless of this, it is still an incredibly powerful debut from Sivu.

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.

The Sun Will Come Up opens as a consistent story, but it’s not one into which all of its components can sensibly fit. That’s not to say Nesbitt’s diverse adaptability is all bad, it’s simply that she shines brightest when committing to a style without sacrificing her individuality.

The core of the album, for all its cultural commentary and musical relevancies, is just a solid guitar-indie foundation.

The band fails to keep up that feverish tempo, and the album’s bewitching beginning quickly gives way to less inspired, repetitive numbers that plague a majority of the record, especially its weak second half.

Fragments feels like the culmination of everything that Simon Green has been building up to over the last 20 plus years. A rich and cathartic release from a musician at the very top of his game.

The record sits firmly within her existing catalogue, but that growing self-assurance brings a new charm to the Baby Kingdom.

This is a collection both provocative and vigorous, covered in a sleek wrapper that hides the introspective side lurking beneath. So Close To What is hit after hit – it’s her most convincing argument of superstardom yet.

While Finding Shore certainly isn’t the most accessible of albums, it’s one that’s likely to stay with its listeners long after the dull rumble of its closing moments have faded in to nothing.

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.

It’s is a fluid, cohesive album that flows seamlessly from one movement to the next--as its cover suggests, it’s a canoe ride without the possibility of capsizing.

They demonstrate a knack for so many areas it’s hard to predict where they may go in the next few years, although it’s a bit incoherent at times as the band schlep from one genre to another while still trying to hoist in their innate pop flair. This record’s a crossroads.

KIN is the uncommon soundtrack that doesn’t require any context other than its own to command more than passive attention.

Brien and Geeneus have turned in a finessed and involving convergence between dance and pop that mixes timeless songwriting with an energized and gutsy production.