They’re not ceasing their distinct punk-rap, but they’re offering a new portion of the spectrum. If you found it had to stomach their previous material, CLPPNG will provide you a rope, from which you can drag yourself into their miscreant lair. Fair warning: they may not let you leave.

Be warned: a full appreciation of this album requires numerous listens - it offers little at first glance, but the moment you surrender yourself to this fate, all becomes clear.

There are one or two slightly lacklustre moments, such as "Hold On Me", which doesn’t feel like it belongs, but they are far outnumbered and outshined by the groove of songs like "Old Flame" and the smart, questioning lyrics of "Validation". It’s a record that challenges complacency

Taylor and co-producer Brad Cook (Bon Iver producer and collaborator, formerly of Megafaun) use the space and details of the performances to emphasise the mood of the songs more effectively than ever before.

With their third album, Twin Peaks have become not just one of the most exciting young bands in the Chicago music scene, but in the entire rock landscape.

GINGER yields a sound that is more emotionally evolved than any album thus far. ... The result is BROCKHAMPTON have finally come of age.

It may take some time for casual fans to fully embrace the record’s shifting sound, but anybody who has ever dealt with loss can get something out of Away.

While Taylor definite seems to prefer to approach his themes and ideas with a sombre touch, he’s not afraid to whack up the pace a notch or two, and it appears he actively enjoys getting stuck into dissembling standard percussive forces.

Gist Is shows a lightness of touch that’s few and far between on debut records.

Prisoner is an album filled with Adams reconciling his doubts and fears about life and love with his faith in music and the power of song. And ultimately--thankfully--music wins out over heartbreak in the end.

This album opens up the treasure chest and allows you to marvel. His disposable notions turn out to be consistently worthy of such regard.

Olsen is a unique songwriter of incredible complexity and fearlessness, and despite her ostensibly considerable inner sorrow, she manages to deliver an album that is as equally exultant as it is despondent.

What follows is a highlight in an album of standouts.

Is it worth the time, passion and investment of the listener? To those unfamiliar with XCX, or who only know her in passing, the answer is irrevocably yes; for others, it depends upon the value they place on a well-crafted retrospective.

Nothing Was the Same is different because Drake has stopped worrying so much about who he’s become and figured out who he is.

Future Islands seem to communicate certain fundamental truths about the travails and triumphs of themselves and their compatriots with an eloquence that is unparalleled by virtually any of their current peers; moreover, they have obtained access a significant international audience for their ideas without compromising their artistic approach.

Overall, though, this is a satisfyingly substantial listen.

That’s why it's a remarkable debut, it doesn’t sound like anyone else, it sounds like Lowly, who on Heba are a band completely on top of their own game.

Hinson’s yarn-spinning ability that was so beautifully displayed in previous albums has not mellowed--it’s here, and rawer than ever.

If a whole album could sum up my juvenile years of prepubescent chanting along to anthems in the kitchen at house parties, it would be this.

Me is both a fabulous anthology of boisterous pop songs, and a timely, revelatory album for a lot of people to live vicariously through.

Less obsessive (and deep-pocketed) fans will be absolutely fine with the 2-CD set, but repetition aside, the deluxe set certainly offers multiple delights.

Honeymoon reaffirms her ability to make important, masterful pop music that doesn’t pay a blind bit of notice to fashion and it's all the better for it.

Show Me The Body make music that isn't easy either; what's so important about them is their ability to drag your gaze in those uncomfortable directions.

It’s a record full of brilliant playing, solid gold songs and most importantly it feels like an honest assessment of where The Men are right now as a band and as individuals.

Startisha, as such, finds Juwan transcending genre without qualm, a path crossed by many, but delivered here with a precision and confessional centre that feels innate, organic and without lull.

As a collection of tracks Holiday descends into a humid nostalgic reflection, yet each individual song is its own small pocket of joy.

While still creating boundless, exceptional fringe-pop, on Platform Herndon is finding countless new ways to hold our attention: deploying a greater sense of narrative, an emboldened melodic arsenal and enough enthusiasm to remind us why she remains a vital voice in peripheral pop.