Choruses are plentiful, tactile songwriting makes for a spectacularly fun listen.

Ghettoville is lonely and solipsistic, music for 3am and the glow of streetlamps and the distant reflections of glass and steel, of crumbling urbanity meshed with neon glow and shadows cast long and deep.

What remains is a definitively good album, albeit not a great one.

All in all, Glacier appears to constitute a bid to be taken seriously.

There is undeniable beauty lying in each of these ten offerings, but when listened to in one sitting, they lose their individual draw.

Tonally, it falls somewhere between the shoegazey aggression of I Will Be and Only in Dreams’ hazy hooks, but it’s lacking the former’s force of character and the latter’s infectious melodies.

Picture You is most certainly amongst 2015's most remarkable releases. Drink it in, and be careful not to judge it too soon.

It’s the haunting, beat-driven atmospherics that ultimately make the songs memorable (or not), and throughout this new record the textured dynamics of these songs pulse with a clean, modern inventiveness, while also echoing the moody tones of his best work.

Combining the pop world’s two biggest current loves--forward-thinking dance music and throwback soul/funk--Jungle are ticking every box on the ‘perfect debut’ checklist, and they’re doing it with pizazz.

Once again this clutch of sound, coming in at under an hour, is the vehicle for one of the most unusual and malleable voices in Britain today.

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.

A record of considerable dimensions, always well controlled though never in the least predictable.

It’s an unexpected but fitting swansong: like Brams’ presence in Stevens’ life and work, it is a gentle guide, and an encouragement to give our thoughts space.

There are at least a half-dozen verses in this album alone that stand amongst his best ever. ... Problem is, saying a whole lotta nothing for 70-plus minutes doesn’t exactly make for a compelling rap record.

For those that do connect with the concept of this album as a whole and allow themselves to become immersed in Abbott’s analogue world, Wysing is as beguiling and intriguing as any record released this year.

While it does skew a bit more electronic, Every Now & Then maintains the psychedelic spontaneity of the group’s first record and adds in even more refined percussion.

Imitations is another strong entry to the diverse repertoire of a singer who seems to be gaining an increasing grasp of his vast expressive potential with age.

Ultimately the potential legacy of BFF Hosted by DJ Escrow lies with the future artists it may inspire.

It’s a glorious return from one of 2010s most talked about bands that deserve to be talked about all over again.

James’ stark vocal delivery resonates on both an emotional and socio-political level on Tribute to 2, and, although he's is begging the world to unite and come together--something that, in the current political landscape of 2017, seems damn near impossible--at least music fans from all around the globe can agree on something: James has never sounded so elegant and in control.

Whilst The Thrill of it All isn’t a complete departure from the artist we all know and love, it is clear that Smith is in a new phase of his career and is encompassing what it means to be a ‘soul’ singer.

On the whole Good Nature brightly evokes the feeling of leaving your room and opening the doors and stepping outside.

With Always Ascending’s sharp menace and mad genius, Franz have rescaled the mountain and made it back to the top.

While you can identify his signature guitar looping motifs on the records, providing a subtle backdrop for Georgas’ expressive vocals, it's her willingness to open herself up on such a bare naked level that gifts All That Emotion its titular promise.

Wrapping the messiness of post-breakup emotions into rule-bending pop cuts, it once again proves that nobody does heartbreak anthems quite like FLETCHER.

For the most part, then, The Flower Lane is a glowing ember of a record that shares much of the spark of Mondanile’s “day job” band, but also a little of their occasional tendency toward stylistic appropriation over dedication to content and originality.

If a track is below three minutes, it’ll be a modest barnburner that fizzles too fast, and if it’s above that, then you’re in for Black Francis impersonating a middle school vocal recital. .... When the distortion is flowing like beer on V-E Day, The Night the Zombies Came proves to be a modest party record, beneath the fat.

Era joins the other three albums as a missed opportunity.