Rewind the Film seems immediately poised for lost-classic status-- for all its clumsiness and flaws, it’s the kind of album that wants you to let it sink in, or even gather dust, until you remember it’s there.

By the tenth track of verdant metaphors and leafy imagery, it's hard not to wish for the return of some of the angst which characterised The Antlers' earlier works, just to add a bit of bite. Still, with spring just around the corner, it's hard to be churlish. Green to Gold is a befitting album for lazy summer mornings.

Wiry but not without weight, The Nothing They Need conveys an increasingly efficient model of Dead Meadow, saying its piece in eight unhurried, hash-hued visions.

Perfect Version rivals no Chastity Belt album and its nebulous delivery causes its songs to often slip through the listener’s hands. However, none of that is really the point of the album. ... A clearinghouse and a reset button, Julia Shapiro needed Perfect Version and we need the album precisely for that reason as well.

Death Grips are at their best when they’re just being plain weird. Some of the attempts to fully reproduce various types of dance music fall a little flat – it’s a passable imitation, but the kind of people who like psytrance might not have much time for most of Government Plates.

Equal parts Nuggets era-psych as it is The Cure and The Smiths, it is certainly an interesting avenue of songwriting they’ve chosen to explore. As with most exploration, however, there are missteps and wrong directions.

GOLDEN comes out guns blazing, full of personality, and as a result feels very front-loaded. Jung Kook’s desire to do his best work is obvious, but a little bit of pacing of the tracklist wouldn't have gone amiss, as energy levels (and featured artists) peter out all too quickly.

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

From Talking Heads onward, Byrne’s songwriting style hasn’t been so much light and shade as light or shade, and the album sags a bit when he indulges in his more twee instincts.

The unreleased cuts provide many of the highlights. Two takes on obscure vintage rhythm & blues cuts hit a raw energy that the more heavily polished arrangements lack.

Of course, though there are moments when UK Grim feels more three-dimensional than previous records. It’s still very much a Sleaford Mods record, and as such will do little to sway anyone who isn’t already a fan of the band.

With most tracks comprising largely of delicate vocals and the mellow strumming of guitar, the album does not stray far from Paul’s distinct, dulcet sound. However, despite the sound not differing largely from her debut, each track on At The Party... presents a distinct purpose, yet when considered as an album as a whole each track seamlessly melts into one.

An elephant in the room – the overproduction of his tracks. While they do not completely ruin the album, it neuters the vulnerability that is expressed. Otherwise, fans will be pleased to find that Keaton Henson reigns well as a solid singer-songwriter in today’s climate.

Worship The Sun definitely won’t disappoint fans of their self-titled debut, and the extra production values only adds to their refreshingly carefree style. A perfect album to hang onto the last remnants of long, hazy summer days.

It’s still a difficult record to parse – Smith’s complex collaging lends itself to attentive admiration – but on this release, she wants you to hear the concept. She wants you to see what she can hear.

For all its faults, the heart and maturity at the centre of Soft Will feels more vital and important than their showy genre tourism ever did.

On LOVE + FEAR, Marina shoots for stripped-bare big pop, and for the most part, she achieves it, but various clichéd lyrics occasionally stop her sincerity in its tracks.

Overall, Heyoon is an impressive effort, broad in its scope and ambitious in its reach. Landshapes possess passion in excess, and this is made evident in the unbridled rhythmic ruptures and psychedelic pulses that define the record.

Even if the album largely sets aside the impeccable hook-craft of previous work, the sequence is indeed sonically and thematically compelling.

Ma, to an extent, substitutes freeform elements with a more bankable linear path, orienting between breezy accessibility and flashes of lateral sprawl; a pattern that serves to engage adequate interest. Honeyed highlights compensate for less tight moments, paralleled with a ponderous, but temperate pace; translating into an elegant offering from Banhart, despite gratifying a teasing fondness for excess.

The sonic palette wanders into romantic and mythical laments and as a result the actual relationship loss is portrayed as cosmic. This could be seen as melodramatic or overblown at times but given the notion of the all encompassing love at its heart is also, perhaps unavoidable. .... Vocally, she continues to be a force.

Complete with contributions from a star-studded cohort of guests including Stormzy, Aitch and Popcaan, the LP serves as Loski’s most accessible project to date, but he takes care to spotlight his less well-known Harlem Spartans colleagues Blanco and MizOrMac.

Beautiful Thing shows the other end of Alexis Taylors talents as both a songwriter and a musician, and it’s time that more discovered them.

Whilst there are fragmented glimpses of influence peppered throughout, the record remains very true to And So I Watch You From Afar’s sound; too much at the beginning, but brilliantly later on.

This is neither an essential nor an endlessly replayable record - but what it is, thankfully, is a delightful entry point to the works of Tony Bennett. Nothing else much matters.

With Five Dice, All Threes, Bright Eyes prove they can still evoke both intimacy and grandiosity without sacrificing the imperfect edges that made their early work so compelling.

It’s difficult not to wish that the entire album was full of the same ingenuity as its first half, because there's so much potential and talent evident in those first tracks. It’s still early days, though, and the huge themes and inspirations Georgia plays with in Seeking Thrills showcase a true rising star of British pop.

The atmosphere is very light and airy, in sound if not in subject, which means it requires a few listens to dial in on the lyrics and find the extra levels of depth that are certainly available.