The Future’s Void is an album that, rather than plead with us to disconnect from the online, asks us to face up to a world with where internet, surveillance, selfies, the NSA aren’t going to go away, and to find a way to continue to interact with this technology in a constructive and positive fashion.

Although by no means an instant classic, Nobody Wants to Be Here and Nobody Wants to Leave shows an integrity to The Twilight Sad which cements their position as one of the more creatively important bands operating today.

Traditional Techniques is an album completely out of time — a folk(ish) record about the present day that might be one of the most future-proof of his career.

There’s decidedly no fall from grace here for Grant Hart on The Argument, his most ambitious and accomplished album in years.

Bloodsports is such an assured return, as welcome as it is unforeseen, that Suede have succeeded in rewriting what might be deemed acceptable for a band preparing to enter middle age.

It’s brief, and perhaps maybe pushed its sound too far to bring in many new listeners, but for those that enjoyed their previous records it’s certainly a great time.

Wye Oak’s forward-thinking approach proves they’re miles ahead of their peers in more ways than one, and if they can keep on moving, things are likely to stay that way for some time.

For die hard Reich fans, these recordings may not reveal anything wildly different than what has preceded in a vast corpus. Reich is a composer whose work contains great nuance, and it is certainly the case for Pulse / Quartet. These are recordings that demand a few listens, they are worth it. Allow yourself to get lost in them.

All of this adds up: if you’ve enjoyed anything Dan Bejar has done under the Destroyer moniker, you’ll love Have We Met. If you’ve never heard a Destroyer album before, you’ll probably love it too.

["Atropos"] (and the record as a whole) is a testament to the enduring potential of the old, mythical Woodstock tradition of a band setting up in a room (or a basement) and waiting for inspiration to strike.

Shamir is unquestionably the star, but the interplay between artist and producer is palpable; it’s a musical match made in heaven (or, perhaps, hell: Sylvester has likened his role to the relationship between the poet Virgil and his protagonist Dante), and the finest moments here have Sylvester providing the trampoline for Shamir to bounce on.

Wailing down the hallowed halls of memory and experience, Chithambo feels the resonation of these moments and channels the hurt through extraordinary delicate songs where harmonies wrap around each other with a spectral quality, and the dripping rain of picked guitar strings decorate the walls taking leaves from the book of Sufjan Stevens.

An album full of calming energy, with vibes to soothe the soul and the mind, and put a smile on your face.

The result is not a focused or sharp record--but it doesn’t need to be. The allure of Noonday Dream comes in its willingness to swell and expand, before Howard sits up and starts kicking, slowly but precisely, to steer the track in a new direction.

It may not always live up to its title, but it’s certainly an interesting branch of what will hopefully continue to be a long and fruitful partnership.

American Head is a rare concept album that actually coheres as a narrative, but can just as easily (but less rewardingly, perhaps) be enjoyed as simply a set of the band’s most potent and moving tunes since the early '00s.

While it’s difficult to not fully engulf yourself in his ethos from the LP’s sit-in folk jam stylings to even crossing over into more celestial territory that finds itself throughout Goes West, Tyler’s dexterity in capturing emotion and conveying a story is rather significant under his instrumental hand – a gift that he’s always yielded, but likely now more than he ever has.

Across Stellular’s twelve tracks we're presented with a strident procession of indie pop that demands attention.

Like any farce, the Kenny Dennis LP is something of an acquired taste, and if the recent existential contemplating all engaged with rap music have done upon being presented with, by the likes of Das Racist, Kitty Pryde, and Riff Raff, a mirror within which to see themselves is any indication, Serengeti’s masterful card will polarize as much as amuse.

The overall effect is still unpretentious and upbeat, albeit with a few more melancholic undertones.

Bleeds is a concise and heavily focused record that can proudly sit in and amongst his best.

The album is inner thoughts given flesh, a voice of candour and comfort soaring towards the future. Where it's leading is anyone's guess, but that's not the point. The point is right here. The point is right now. The point is the almost-hour you spend listening to these songs. And it's nothing short of magnificent.

Eschewing the sleek production of Electric Lady Studios, which must have been mere blocks away, gives the album the raucous feeling of a bar-room jam. ... When the backing instrumentation drops out to leave Leithauser booming those words into an empty room, the album is at its most powerful.

The strength of Don't Let The Ink Dry comes from its mixture of vulnerability and power, both apparent in the vocal delivery where they subsist in harmony.

Are there a few weaker moments here and there? Sure. ... But it’s impossible to be bored as you move from the filthy heaviness of "Giving Blood" to the punchy, melodic "Meteor", all the way through to the gorgeous choral rapture on "Dying Is Absolutely Safe".

Both his tone and skill compliment the instrumental arrangements on each track, often effortlessly switching between his head, the mix and chesty voice are inspiring.

Standout tracks on the mixtape include the fan-favourite “Obsessed With You”, using the queen of viral short-songs PinkPantheress’ “Just For Me”, and the more introspective “Cold Shoulder”, but the last two tracks demonstrate just how much potential we are yet to see from Central Cee.

The 'what if' factor looms large on CHAOS NOW*, but not to the detriment of enjoying the thrilling outsider pop music that Dawson provides both in his overarching messaging and unsteady sound.