Cutting Up The Present Leaks The Future is a refreshing listen. Its lo-fi aesthetic, invigorating guitar approach, nuanced throwbacks, heartfelt lyrics and general quality (among many other fascinating titbits) all make for a lovely record.

Perhaps their least remarkable record, from its messaging which has grown increasingly unrelatable outside of religious contexts, and a collection of instrumentals which are another iteration of a sound previously travelled on more groundbreaking records. But don’t forget, they’re still firmly within zeitgeist territory.

The production is perfection, and if you're in to classic pop musical cliches that defined electronic music in that era, Iteration becomes more of a celebration of nostalgia than perhaps a narrative into something deeper. The trip back is kind of fun, even if it is not directly intended.

Veronica Electronica may not add much to the already excellent era it comes from, but it certainly acts as a reminder to give the original another spin.

An experienced musician as Lambert is working with top producers such as Tommy English (Kacey Musgraves, Carly Rae Jepsen), Andrew Wells (Halsey, OneRepublic), and more to create a record that is beyond a covers album: it is an experienced display of composition, and how to reframe music to new audiences.

On this album, the influences are acknowledged and respected while still managing to sound original.

Strange’s open attitude towards collaboration benefits his music while he maintains a unique sound, an amalgamation of clear references into an entirely new shape. Horror seems to ask the listener to face themselves in the way Strange has on this record, and not everyone will be ready.

They've crafted a debut album together that proves both emotive and enchanting.

With the good comes the average and with it the great.

The misfiring cover of The Beatles’ "I Want To Hold Your Hand" aside, Pinkus Abortion Technician is more than a legacy record for the band. It reflects their continued enthusiasm and well of ideas and, most importantly, their willingness to keep it weird.

Kindred is a potent reminder of his prowess as a writer, delivered in a quick, forthright burst; it’s not the finest showcase for the sheer diversity he’s capable of as Passion Pit, but it does stake a claim--context considered--for his ongoing importance.

This is an album that you can feel as well as experience, perhaps the most complete Bon Iver album to date. Justin Vernon’s emotive approach to the album balances the individual and the communal with perfect precision. With a firmer grasp on reality and a new and brighter perspective, a unique mix of creativity and bewilderment remains at the core of Bon Iver.

The album has excellent high points – tracks that showcase what brought RAYE to the forefront in the first place.

There is a mix of winsome romanticism and righteous anger throughout the album, but it’s occasionally difficult to see which are tongue-in-cheek or genuine.

It’s difficult, though, to listen to fifty percent of Sonic Youth making endearingly experimental music and feel obliged to pick faults with it. When Last Night on Earth gets it right, the results are magical--the searing ‘The Rising Tide’ is the highlight of any post-Youth output to date.

EYEYE feels like a piece of magician’s silk that just keeps going and going, but it’s still the same piece of silk. Unlike Wounded Rhymes, this is not an album to put on at a party, but if you’re going through any kind of heartbreak, plug yourself into this immersive and impressive album and let it all out.

While you could write off this album for not attempting to push any musical boundaries, there's an authenticity to their relatable lyricism that gives reason to their polarising popularity.

Playland then is an enjoyable rock record with occasional dips into complacency that are sometimes matched by its moments of bravado and energy.

The stronger songs sound intentionally raw and impulsive; the weaker songs like demos waiting to be fleshed out.

At the end of the day, Gibbs is too talented of a rapper to put out a lackluster album, so while Shadow of a Doubt might not go down as one of his classics, it features more than enough quotables and street-smart truisms to be worth a few spins.

Invitation is a classic grower in the sense that, while it does have its weaknesses, repeated listens drawing out these details do overpower them over time.

The band's signature swagger and theatricality is present throughout, but there are moments of vulnerability and lamentation that add depth in all the right places.

Hobo Rocket may not be the band’s best album to date, especially in light of their super-tight standout Beard, Wives, Denim--but, if the question is whether its rough, shambolic sound makes you think it’d be completely off-the-chart in a live setting... absolutely yes it does, and that’s really the aim of it.

Occasionally the electronic sounds can seem too familiar and overused.

Fantastically frantic and multilayered, Uurop VIII-XII Places in Sun & Winter, Son appropriately captures a live Fall experience in 2014, and reiterates just how durable the current line up is.

They continue to test the waters, which in itself is admirable, however, the execution in reaching a pinnacle can get lost from time to time. I Have Fought shows the Body running roughshod and a band who will continue to push and who will never settle for less.

The bizarre juxtaposition of Jay-Z on hit and miss form and a borderline-perfectly produced record makes it a trying listen.

It's clear that these compositions are infused by strong emotions and the inescapable weight of memories, but it's not always easy to interpret the hidden meaning.