By being both coherent and pleasingly unhinged, bEEdEEgEE more than fills the role of cosmic dance music vacated by Gang Gang Dance.

Bleachers would have felt more complete if their signature goofiness prominent in the upbeat production had seeped into more tracks. Despite some occasionally affecting lines, songwriting isn’t their forte; instrumentation is.

Days of the Bagnold Summer encapsulates the best of Belle and Sebastian whist simultaneously narrating the key themes of the film. The gentle approach of the album and the complementary nature of the band’s rerecording’s and the new tracks are hard to fault. Belle and Sebastian have truly found a beautiful sweet spot on Days of the Bagnold Summer between a film soundtrack and a signature sounding album.

Sometimes you can lose yourself, in the twists and turns, but ultimately, this is unashamedly fun music from two of the most interesting musicians around, and being brought along for the ride is a worthwhile experience.

Ggood voice is nothing without good songs, and Rateliff comes with plenty of ammunition on Falling Faster Than You Can Run.

The real moments of surprise come when the band strip things back and sound heavier than ever.

Straddling both shoegaze and post-punk is what makes Moaning both enthralling and frustrating, a hint to the cavernous thrill they're capable of though also threatening to oversaturate and lose themselves in their own dirge. Here's to hoping it doesn't end up enveloping them completely.

Hundred Acres’ environment can occasionally border on the too-cozy and tender, and, as has been the case on previous records, certain songs simply wind down more than they come to any conclusion. Still, Carey ably shepherds the whole sentimental journey.

Pinned isn’t a memorable record; it’s a cacophony of ideas that don’t pan out. While it has bursts of substance, they soon trail off, or are abandoned instantly.

This is a solo debut that’s been made with love, care, and plenty of ability, and although it has a tendency to veer too far into bleaker territory at times, there’s no denying its subtle magnetism. Nili Hadida’s found herself a new groove, and it makes a quiet yet engaging impression.

Girlfriend Material sees shimmer traded for increased complexity alongside a confident pop-punk presence – one that defines the album’s major strength alongside a sharply served side-eye view of society.

AQUΛRIA is an interesting, risky record, but too often it confirms the notion that Boots’ development in the booth lags behind his touch on the mixing console.

[Divine Ecstasy] is a sound--no matter how hard to quite pin down and vivisect--with which the music world has been familiar for going on a few years now, and very little groundbreaking--cloud breaking? sunshine breaks through clouds, right?--is going on here, although Cuts’ brand of amoeba production does have enough individuality to stand apart from its peers.

While these tracks aren’t necessarily bad by any definition, they certainly lack the charisma that M83 is known for.

Ash & Ice ultimately represents the contemporary tension of two talented artists finding their way back from the brink by leaning on each other as well as their music.

The artistry is unquestionable, but ultimately the indulgence of the album’s creation seems to have fogged Invention’s original vision.

It’s a soft reboot. It’s a new path to take. There’s the widest palette of any Okkervil River album, but it’s steady and doesn’t throw any needless curveballs.

Whatever the nuances of the arrangement, it is one that both sides would be wise to return to.

Communion is brimming with razor-sharp summer pop anthems that succeed in bringing a smile to your face time and time again.

Rateliff’s faced those feelings head-on and come out the other side with a meaningful album full of subtle beauty, and one that’s buoyed by the prevailing feeling of hope; hope that things will still be alright.

Motordrome is a multifaceted delight and an early contender for pop album of the year.

The moments of intrigue are too fleeting and the encompassing ‘feel’ of the LP lingers too long in flat territories, which is a shame, as there’s potential for her solo work to be spectacular indeed.

It’s dreamy without being a sonic sedative; vaguely psychedelic and hypnotic without zapping energy levels.

Lovingly co-produced with Paul (Mansun) Draper, Davies is on startling form throughout, layering spellbinding vocal harmonies and turning her hand to a long list of instruments with names few will even recognise.

Effluxion doesn’t ask questions, or make you want to ask questions, or answer any that you might have had. The only question you can ask of Effluxion is what the title means.

It stays true to the duo’s journey of experimental pop rock sounds, while finding energy in existentialism.

Raw, thoughtful, and thought-provoking, Love & Peace teleports you to the dusty plains of America’s vast countryside where life seems a little simpler.

From its intro--a carefully crafted hip-hop instrumental by legendary producer Alchemist that creates the tone so astutely, to it’s end--a track guested by both Ratking crew-member Wiki and King Krule, it’s hard not to get swept up in this record.