Much like a Full English and a strong cup of tea, Luke Temple wipes away the hangover from what you might otherwise call pop’s misguided choices (including the bubble perm and Kylie-and-Jason collabs), leaving only the happy memories of dancing to ’80s classics like it’s 1999.

This is a great record. Talk Normal are clearly indebted to the foundations of post-punk and no wave, but crucially they never feel like a throwback.

Shulamith provides exactly what you want from a second Poliça album; it’s incredibly fresh and exciting, but still a reminder of what you loved so much the first time round.

Some will appreciate the record for the bursts of soul-infused pop, others will take time to grasp the tiny details and appreciate the deeper layers of Sing To The Moon.

The recipe for their success is straightforward, but they do manage to indulge in some more experimental desires by pushing Geronimo’s voice to the margins of the mix on tracks like the psychedelic “Bird’s Eye.”

This highly visual, lyrically-driven mode of storytelling might not appeal to Baths fans who appreciate the minimal vocals and delicate restraint of his earlier work. ... Romaplasm, however, is clearly an album made by an artist who has made the choice to create in a way that works for them, blending innovative electronica with the storytelling of a comic book artist to produce a truly innovative LP.

The Competition proves a multi-layered offering from the two-piece, juxtaposing viscerally relevant themes with modulating, often overpowering soundscapes. It's volatile, beguiling stuff, and utterly distinctive.

What with imitation being the greatest form of flattery, this must be one of the most flattering albums of all time. This is music by Devo fans, for Devo fans, and it’s a hell of a lot of fun.

Disco Volador feels like a journey into a world undiscovered, without ever feeling too alien.

They’re not ceasing their distinct punk-rap, but they’re offering a new portion of the spectrum. If you found it had to stomach their previous material, CLPPNG will provide you a rope, from which you can drag yourself into their miscreant lair. Fair warning: they may not let you leave.

Things are once again totally captivating, though not in a daze-y, dream-like way; rather because this album demands your attention through the sheer scale, sprawl and scope of it.

As an indicator of the kind of music the Wainwrights indulged in at home while they and their many and various offspring went on to charm and dazzle the musical world, this is an invaluable document. For those who simply want a dazzling, slow sunset of a folk record with the occasional lyrical bite--the same applies.

Doggerel finds the American alternative mainstays reinstating bittersweet peaks and ironic edge, the interplay of Black Francis and Paz Lenchantin’s quasi-mystical vocal patter joining songwriting that captures the four-piece’s creeping, jack-o-lantern-leering spirit.

As well as a wide range of emotions, various musical styles are visited and executed with the causal confidence becoming synonymous with her output.

Does the record deliver after all these years, then? Occasionally, but not satisfactorily when playing with the tempting what-ifs.

As well as some (comparatively speaking; nothing here is entirely unrewarding) misses, the instrumental cuts also provide the EP's highpoint in the form of the soaring, Can-inspired propulsive hypnotics of "Loop".

Sylvan Esso have always made albums that demand to be listened to at the expense of everything else in your record collection. Free Love is no exception. It’s the pair’s most cohesive body of work yet, and despite its more left-field moments, possibly their most accessible.

Joy’s fluttering vocals reflect the ancient feeling of the folk genre, but the soaring chorus balances that feeling with a modernity, paving way for the more pop-leaning aspects of the record.

It’s hard to find fault with an album that feels so consistently representative of the mind that bore it. Francis Trouble is certainly Hammond finding a version of himself that’s pushing toward the future while never losing sight of who he really is.

The album isn’t easy going: it’s hard to completely love a record as bleak as this.... but Henson has a poet’s way with words and an expressive voice that you’d never tire of listening to.

Mythologies is the sound of a band who've realised their previous limitations, improved on the sounds they're most comfortable with and invited us to listen to them discovering their ability to splatter the canvas with all kinds of beautiful mess.

Of course half the fun is in hearing how the band have transformed oh-so-familiar songs into something quite different, and transform them they truly have.

The album’s many incongruous textures are sensory experiences: formless and visceral and not always easy to connect to. People of the North produce collisions rather than compositions, and those of us unable to embrace the tumult likely won’t appreciate their music.

A celebration of lightness, of fun, and of growing, learning, healing, High Road confidently and comfortably reconciles the different sides of Kesha which previously felt separate.

Ephyra is an intelligent release, one that grows on its listeners far more than initial investigations would should suggest. Such things can be a double-edged sword however, and Ephyra is also a fractured record, the potential of which feels somewhat stymied by its own belligerence.

Fizzing with melodies, the dream-pop infused aura that emanates throughout is charming and vastly uncomplicated. Her vintage aesthetic sealing the deal.

Although Burch indulges herself in lovelorn lyrics for the entirety of the album, she manages to keep everything fresh and clean even when the tempo slows down.

On Fast Idol, Stewart once again offers a perfectly poignant distillation of danceable, downbeat synth music.