Far from a fans-only stopgap, Häxan sustains the creative peaks the band scaled on Allas sak.

In short, Trials more or less achieves the goals the band set with Fear.

Agora is hypnotic, transient and valuable and a rarity which although oppressive at times ultimately delivers on a promise as tangible as it is striking.

With the exception of The Band-esque fable "Percy Faith", the more light-hearted material proves less memorable. Even so, The Horizon Just Laughed continues Jurado's recent winning streak.

If a long playing ode to the wonder of women was the driving concept behind G I R L, then of course, Williams has failed. If however, you want to hear an artist at the height of his popularity who’s all up in this place for a good time, then grab a hand and raise a cup (if you must), this G I R L will keep you entertained throughout.

In short, afraid may demand a bit more from the consumer, in terms of mindful listening, but variety and range (and intensity) are indeed present, even if more understatedly.

All irony aside, this bold debut is something to be admired--a creative and eclectic gem to be cherished and nurtured.

We’re left with an album that hides behind the idea of specificity--the title and the lyrical content certainly want you to believe as such--but that ultimately provides a ferocious observation of our lopsided society. It’s also the best out-and-out rock record that Harvey’s made since Uh Huh Her.

This atmospheric, rewarding gem that, despite its decidedly downbeat subject material, hops effortlessly over various woe-is-me traps is certainly worth the trouble its author’s had to go through to produce it.

Enter Shikari are as invigorating as ever, and perhaps at their most invigorated too.

Despite each track standing incredibly strong on its own, it sometimes feels as though Ashworth is taking on more than the album can handle. A more decisive sound and Squeeze could be one of the best albums of the year, however, Ashworth’s indecision pulls the listener from one emotion to the next without ample time for digestion.

SOPHIE in part radiates extrinsic positivity. The instrumentals, when listened to singly, are often grim and claustrophobic; it is instead the vocal contributions of her dear friends that invoke the lively spirit of collective relief.

Ecstatic Arrow is frank in its representation of the struggles of women creators, but balances its anger with miraculous joy.

Incorporating a sense of scale and sounds that highlight the ingenuity and curiosity that sits are the heart of the trio, Horizon is a celebration of the trio’s vision and collective experiences. Wherever it takes them next, let’s hope it continues to be as enthralling as this.

Fibs is thrilling because it doesn’t adhere to the usual. A freewheeling, freethinking treat for the senses which reveals a musician at the height of her powers.

Creatures of the Late Afternoon is a significant evolution since his seminal work Carpal Tunnel Syndrome, showcasing an impressive restraint of oversaturating us with dizzying samples and flashy turntablism and instead focusing on letting the music speak for itself.

The Pace Of The Passing is an expansive and ambitious record that should delight fans of Bombay Bicycle Club but also pull in listeners not be so acquainted with his previous work.

Exploring a whole new sphere of genres, eras and musical styles, Volcano's unexpected twists and turns place Jungle at their peak of most progressive yet.

These are not songs which will not change the world, and they will probably never be a huge band--but songs as beautiful and honest as these will always be huge for some people.

Ultimately, the album repays careful and repeated attention, its varied qualities cohering effectively with a measured sense of control that, simultaneously, offers positive indications of the considerable potential for future even more diverse arrangements.

It’s in the album’s quietest moment that Dean delivers her most compelling performance yet.

Aftershock may not have come from the same dark hole that spawned those bad boys [Overkill, Ace Of Spades, 1916 and Bastards], but as a statement of intent, it’s right up there with them.

Her conceptual sounds don’t offer blatant, fist pumping anthems for movements like Occupy and Black Lives Matter, instead they seem to capture the still, quiet tension that echoes around that space between the battle lines and point to the psychological fear on both sides.

Djo yet again proves an adaptable vehicle for such madcap energy and chameleonic shifts in style, an earnest and well-finished delve into another sphere of Keery’s artistic voice.

MØ’s debut LP is an exquisite collection of synthpop, dance and gushing, heartfelt emotions.

Never content with, or intent on, being one thing for too long, Play What They Want thrives on anarchy without chaos.

EMA is talking to us in Exile in the Outer Ring, and we ought to listen.

Black Tarantula is a commentary at the preverbal level; it takes the fears we can’t articulate and sings them to us in our own voices.