This definitely isn't for everyone, and the production and mixing is particularly un-inviting this time around. ... But the sheer tunefulness in the songs beneath it all is actually incredibly heartwarming, and something that deserves as much attention from the adventurous indie listener as it currently gets from the rock and metal gatekeeping elite.

The quality of the tracks are enough to keep the most hardened of critics occupied and the depth of the album, both musically and lyrically, should hold your attention, whatever month it is.

Other You isn’t quite perfect. The album leans too heavily on dreamy tempos; more of the ‘motorik’ reverberations of the Grateful Dead-jamming-with-Neu! gem “Protection” wouldn’t go amiss. Gunn’s step into the unforgiving glare of the spotlight as a singer coincides with some fairly densely cryptic lyrics, too. Such misgivings are minor gripes when faced with closer “Ever Feel That Way”, a life-enriching anthem for empathy and mutual care.

Field recordings, earthly elements, human murmurs and heavy breathing mix seamlessly with synthesizers, drums and keyboards to produce a meditative enlightenment, with Jaar and Harrington creating an album based on opposites, successfully uniting the natural with the unnatural.

Goldie and Davidson’s sound is full and rich, and as Subjective they have managed to create an electronic album drenched in melancholy and distorted nostalgia.

Earl Grey’s range is ambitious, and it's executed with a gratifying versatility that lets it hold its head high when nodding to 60s psychedelic pop, 90s Britpop and sweaty pub indie.

These twelve bitter-sweet tracks are packed with bright pop hooks and jubilant melodies, just about sellotaped together with fuzz and rendered endearingly on the verge of constant collapse.

At a dozen tracks long, with The Crux, Djo is proving himself as a multi-faceted artist, being equally talented as both a performer and songwriter.

Lovesick, woozy, and somewhat optimistic, Are U Down? demonstrates an inherent musicality and dextrous ability that is likely to become magical in due course.

Yoncalla isn’t earth-shattering--everything sort of blends together, as is often the way with most dream pop records. But what does it matter when it’s the sort of album that makes you feel good.

No One Was Driving The Car represents a strong return to the guitar-driven, fictional, but nonetheless moving terrain of La Dispute’s third (and best) album following the more personal and pastoral Panorama.

His production has never felt so atmospheric and intimate; what was once a meek, deadpan mirror of lyrics is now a proto-expressionist conduit for any depth of emotion.

Small Changes manages the rare feat of being a beautifully crafted singer-songwriter album in the classic mould without paying audible tribute to any of its classic inspirations, or succumbing to mere tasteful politeness: an album that's informed by the past while sounding unmistakably now.

For all its pomp and broad appeal, it brims with the artist’s personality and is a delight to connect with.

It’s a brave act on Furler’s part, to stand up and present a body of work that so many other people deemed not good enough, but ultimately, it’s a great collection of pop songs, cynical or not.

While Esben may be the more established of the two bands here, the more critically massaged and beard-strokingly analysed, it’s Thought Forms that provide a sense of gameness, of openness and of actual fun that offers a welcome balance to Esben’s pummeling, near-savage emotional and musical beatings.

Nothing here seems out of place, which is a stark contrast to their last record A Deeper Understanding. ... The highlights and key tracks are in plentiful supply.

At an impressive bakers-dozen in length, Everything Still Worries Me is an impressive debut record from the rising pop-princess. Abbie Ozard is a sure-fire one to watch.

If their previous albums were the sound of cataclysmic blasts--of unhewn matter rebounding through the cosmos trying to manifest--then Corsicana Lemonade is the sound of their universe finally taking shape.

Trust is every bit as impressive as The Comet Is Coming's debut. Which is pretty high praise indeed.

Boisterous closer “Love Don’t” leaves no doubt that the Night Sweats are revelling in being a unit once again, after having spent the past few years apart, and they’re all the better for it. Their bluesy soul is being delivered with newfound heart, spirit and zeal, one that makes The Future jubilantly bright.

Hippopotamus feels like the latest volume in an alternate cultural history formed of all the weird things that only Sparks are audacious enough to make songs about. It’s an admirable commitment to silliness.

Despite such intense themes, the record manages to stay light and joyful, revelling in the potential that music and dance possess to draw communities together and find resolution.

They’re pushing the boundaries and reinterpreting music in an exciting way within the digital age, making us pause to rethink and reminisce what was special about a specific age of music and the amazing technology that has come before.

A daring, self-assured statement by a band who have finally figured out just what a special thing they have created with Volcano Choir, but still aren’t aware of where it’s going to take them next.

Lung Bread For Daddy’s inauspicious genesis plunged Beth Jeans Houghton deep into an artistic quagmire, yet she has escaped with another outstanding record.

Unforgettable, powerful, and easygoing all at once, Ragu’s maximalist debut is a special mark on the landscape from a new pop disruptor.

When compared to the mixing and progression of the original, it presents the same odd feeling for the same old record: you can see one of the greatest records of the 70s held captive by a spare mistake here and there. Held together, the original and its remixes could be pieced into Band on the Run’s finest hour.