Just like her songwriting, her singing has developed and matured and with Slow Phaser Nicole Atkins has produced a record of much deeper confidence, one that will surely exist way beyond any of those physical losses she experienced at the hands of Hurricane Sandy. ​

It doesn’t give away much more of the bigger picture, and it’s not quite clear yet how it will interact with it, but daine builds new dimensions with every move.

Theft World spotlights them trusting themselves and their process – that whatever they’re doing will land as it’s supposed to land and reach the people it’s supposed to reach.

Metalhorse largely succeeds in conveying the pushing and pulling through life.

This isn’t quite that fantastic album we wanted and we know--at least hope we know--Brock and company have in them; however, it’s enough to prompt the hope that the axles are greased well enough now to deliver it next time around.

Bigger. Messier. does drag a little towards the end – particularly when Elfman’s collaborators show too much respect for the original tracks. (Stu Brooks’ remix of “True” is an example of this: the bassist played with Danny Elfman at Coachella, and you get a sense that he’s a little too close to this music as a result.) But then the album closes out with an absolutely bonkers remix of “Happy” by Little Snake, who somehow manages both to deconstruct the track into smithereens and to enhance its gothic, trippy essence.

The sparser the group go, the more space they have to fill and the more it sometimes feels like they’re straining. There’s beauty here, no doubt, and they’ve lost none of their technical skill. The move to Danish also brings an exciting new element. But, after years away working together on other projects, one suspects there's room for more inspiration here.

Bad Boy Chiller Crew have taken inspiration from music that was around when times were a bit simpler and having a good time became a whole culture in itself.

There's nothing particularly wrong with Clear Shot. It's a perfectly acceptable album, only it sounds like they're holding back a little.

Condition often has a slight avant-garde feel to it, but it's ultimately an album full of songs that sound like they've been raised with the sole intent of wanting to jump out of the speakers.

Welcome Break is an album that asks listeners not to scour for small faults, but to devote themselves fully to the ambiance of this simultaneously retro-sounding, yet forward-looking album.

While nothing on the album differs dramatically from previous entries to the Half Japanese canon, Perfect offers a solid addition, thirteen new songs to shuffle into a deck that is already rife with heartbreak and ardor.

Reset is an enjoyable 42 minutes of dystopian aphorism and boasts more dense textures and a keener ear for juxtaposition than its predecessor. It's a definite progression; just don't expect it to tear down the firewalls of GCHQ any time soon.

An admirably well-balanced attempt by Drew to really strike out on his own.

The glue holding Martyn’s third LP together is his immaculately-produced tone rather than succinct emotional movement through the album. The individual tracks don’t suffer from it, but it makes sitting down and listening all the way through The Air Between Words a less attractive prospect than doing the same for Immunity. That being said, there’s plenty to take away from Martyn’s third LP.

While there’s a bit of a formula to be spotted, it’s one that works for them--given that it’s new to us, it’s easy to appreciate and doesn’t wear too thin over Weird Sister's duration.

Location Lost is what I imagine floating endlessly through space feels like, rotating as the natural force of casting yourself away with the intention of relinquishing all grounding takes hold as reverb disappears into the unknown horizon. The buffering and battering of space debris through the majesty, akin to the twists and turns each track takes, add to the momentum.

It emits a level of depth that leaves you sometimes not really able to pinpoint what’s what, and other times feeling yourself being drawn in.

There is palpable pleasure--for both McCallum and her listeners--as she shrugs off her old identity and, in losing her voice, goes in search of herself.

Sometimes the electricity is there, and when it is it connects deeply, but when it doesn't it's hard to see past the banality of its structure.

A return in form for a beautiful promise of future.

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

The overall resilience also feels like 86TVs represents a brand new day rather than solely an echo of their former selves, even if some musical references from the album’s latter half draw from already dry wells.

This isn’t a bad album by any means, and so surely deserves recognition as the work of a completely separate entity to Real Estate. Yet, too often, Ducktails actually sound like a side-project.

Despite being as zesty as it is entertaining, Feed The Beast feels compromised as it shoots for the stars.

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.

It glistens like a pop album should, shimmering like a blue lagoon under midday sun..

Essentially, this is sugar-rush, hyperactive pop music for people with the attention span of a gnat.