Treays has outdone himself by biding his time and doing what he always does – injecting his music with a slightly abstract but absolutely authentic sense of himself.

Even though there it no overarching message here beyond the powerful insistence on only living free, Segall has delivered a record with purpose that, above all else, recognises that freedom and love reign supreme.

It’s consistently propulsive, passionately performed, and paced with euphoric enthusiasm to the point where even its still moments are pushing themselves forward. No faith has to be placed on Holley’s songwriting ability like on previous releases, and no climax must be waited for; each track cedes itself into moment after moment like sifting grains.

A. A. Williams has allowed her listeners to exorcise difficult emotions on this record. She provides an aural tonic through her idiosyncratic, beautifully executed sounds.

The staggering amount of feelings spent and tales fabricated draws the listener into the story as much as it may pull them out of it.

Minor misstep aside this is a kaleidoscopic album, dazzling in it’s detail, impressive in it’s intricacies and, best of all, one drawn from so many disparate styles, forms and functions that you could spend months digging through the cultural and musical references to satisfy the kind of musical curiosity it sparks.

The Murder Capital’s first record is a despairingly indulgent listen, but a powerful beginning from a band that promise to bring the passion of emotion to a genre.

It’s at times a brutal listen, but hidden between the hard knocks is the sound of a charismatic young artist who knows he’s making a debut album to remember.

The angular flexes in style and wordplay tied together with Russell’s high wire deployment prove as duly consistent a formula as any of the standout entries in the duo’s crowded discography.

Where previously The Japanese House has sometimes found itself overwhelmed by production that is a little too misty, In The End It Always Does sounds like Bain stepping into the sun.

Guarded and beautifully measured, At Weddings has an absorbingly intimate quality.

Now in their third decade the song remains the same, but on The Waiting Room Tindersticks still sound so out of time that ironically their music feels neither dated nor futuristic, it just is.

Once the record's over, you'll feel like you’ve been dropped in a dark part of town after being left heartbroken--which is exactly what music like this should do.

Never before has one of her albums been so vulnerable and reserved. ... This album drips with drama, humor, and naturalness, making Warm Chris a sincere take on life.

Theft World spotlights them trusting themselves and their process – that whatever they’re doing will land as it’s supposed to land and reach the people it’s supposed to reach.

JAGUAR is another step forward for a career that’s been toiling and honing. Monét's moment won't be soon before long.

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

It has a versatile feel and can easily be used for both out of body meditations and out of world journeys.

Being given the chance to reappraise the original tracklist is a joy, too. As part of this new release, it’s a tremendous pleasure to re-hear the artistry in “White Horse”, the restraint and delicate pull of “Change”, and the heartbursting strength of power ballad “You’re Not Sorry”. ... The only downside to this new edition is that it will be virtually identical to the original to casual listeners.

Just like her songwriting, her singing has developed and matured and with Slow Phaser Nicole Atkins has produced a record of much deeper confidence, one that will surely exist way beyond any of those physical losses she experienced at the hands of Hurricane Sandy. ​

Deeply hypnotic, by turns soothing and unsettling tracks.

A record rich in sentiments of togetherness and compassion, it’s one that will make you want to throw your arms around those you love and tell them everything will be alright.

On album number two, instead of writing out a cheat sheet, they have created an enigma for you to unravel. One of dark beauty and twisting longing.

A more concentrated soundscape, and a couple omissions, What Happened To The Heart? could’ve been a remarkable stepping stone to a career high. Almost everything feels transitory and unduly explorative, as if trying to discover another niche to excel in.

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.

These new songs build on Sohn’s mechanical, rigid guitar-driven synthpop with stomping techno and bittersweet electronics, inducing a dreamy haze as the cyborg operates on a depleted charge.

Lanza's second album is brief, bright and sophisticated, and while it doesn't push any boundaries or cross borders/genres as much or as often as a fan might hope, it does deliver on the sonic and melodic promise of her debut and offer that chance of a wider audience that has been promised since her first appearance.

Leithauser and Rostam have clearly tapped into the long, illustrious history of the great American pop standard for inspiration on these dynamic new songs, offering up their own inventive twists on the art form to keep the expressive dialogue going for a whole new generation.