There’s Always Glimmer isn’t perfect, but that's appropriate really: trying to sort out your feelings in trauma's wake never is.

With Woman on the Internet, she doesn’t sound lost at all. It’s been clear for a while, but this album will smother any doubt: Gartland herself is no longer just a woman on the internet. She’s a glistening popstar; a proficient musician; a scrupulous producer.

It’s a foot-tappingly bundle of disco-pop that is not ashamed of its influences and refuses to bore for even the shortest of moments.

Esoteric Warfare won’t be seen as Mayhem’s best album--there was never any chance of that. However, it’s as good as its predecessor, and every bit as vile and crushing as you’d expect.

With Ali Chant on production duties, Cloth seem to have found the fullest version of themselves. There is an added intent to tracks such as “Lido”, as Rachael and Paul bring their most interesting ideas to the fore, instead of burying them in the mix.

It may be a hard record to get a finger on, particularly compared to her last decade or so of releases, but I Inside The Old Year Dying, is another strong record in a discography already stacked with classics.

he Basement Tapes are an integral part of music history. Here they are, warts and all, the reality for once a near-match for the bloated myth.

If this really is the end, You Can’t Go Back... is more than a worthy addition to the story of a band who leave behind one of the--if not the--richest catalogues in sunny-side-down American songwriting; only a few slightly stale rehashes of familiar templates towards the end keep this from achieving the lofty standards of, say, 2009's We Used To Think The Freeway Sounded Like The River.

Oh Death is another chapter in the book, another highway, another impressive set of songs. If only all bands were this consistent.

There is far more variety on Hit Reset than you suspect the casual ear is going to give it credit for. The biggest talking point on Hit Reset, though, is that it finds Hanna on the lyrical form of her life--and that’s saying something.

If the album’s mind is fixed on a future world, it is an open-ended one. The tendency at this point might be to assume that all imagined futures are dystopian, but the spirit of Don’t Look Away and the sum of the pictures and story fragments Tucker has strung together in the record are reflected in its title: the good, the bad, the beauty, the fear...don’t look away from any of it.

So Much (For) Stardust’s main takeaway is the palpable, radiating carefree joy.

This is a songwriter who has mastered his craft and now has applied a frivolity to his record and the outcome is the most essential release to date.

Sundara Karma have grown both personally and musically with this album and they have delivered a follow-up that is confident and utterly fearless. With more direction than their previous entry, Oscar Pollock’s weird and wonderful mind becomes the main spectacle and something to truly admire.

Music For Listening To Music To is a record that sounds simultaneously old-fashioned and modern, a delightful reminder of ‘that’s how it used to be done’ but ultimately a modern country album charged with electric guitars, a love of jangle and a showcase of Goodman’s glorious singing. But most importantly, it’s a gorgeous collection of timeless songs.

Is it jazz? Electronica? Improvised music? Who cares. Far, far removed from the briefly interesting novelty or vanity project that the prospect of this record might suggest, Holy Spring is an intoxicating gem.

Despite occasional lyrical obtuseness, it’s a joy to hear Callahan back over thick, syrupy instrumentation, and there’s an abundance of riches here.

Nonetheless feels airy and welcoming, qualities that have sometimes eluded its more recent predecessors, it resonates emotionally in ways that befit elder statesmen who can look to the future while comfortably acknowledging the past.

Mercy shows woods and Elucid delving more deeply into surrealism, their lyrical flows, brimming with uninhibited leaps, often bordering on stream-of-consciousness. The Alchemist’s approach is lighter, his treatments perhaps more precisely wielded than on Haram. With Mercy, Armand Hammer continue to radicalize and aestheticize rap, pushing language beyond the conventional – all while reflecting the savage world we live in.

In All At Once, the Garden State guitar heroes show they have as much, if not more, to say than ever before.

Though much is often said about Sunflower Bean’s sounds of the past, Twenty Two In Blue is an impressive reflection of their formative years and a place to start talking about their future.

What it lacks in crowd-pleasing polish is gained in atmosphere. Intimate doesn’t begin to cover it.

They’ve given the folk-drenched musical world of the last few years a well timed kick in the balls.

RTXIV was a superb, full-throttle rock ‘n’ roll record, but Electric Brick Wall is a next-level release.

KicK iii is a more turbulent entry in the Arca universe: its relentless ability to generate movement out of stillness makes it one of her most accomplished works to date.

If You See Me... has the potential to mark the beginning of something very special.

If you’re ever walking by rundown buildings of the same stature, listen to Shaking Hand and let the colour in the mundanity reveal itself to you.

He has cultivated an allure and a presence by, paradoxically, remaining extremely quiet for long-periods of time. He has survived through the quality of his creative vision. Product streamlines this vision into a singular "product" that although is not an essential purchase, is still essential listening.