There’s nothing quite as personal as digging through someone’s record collection and God First feels almost exactly like that. From funk and soul to chilled out electronica, the entire spectrum of Steadman’s eclectic record collection has been mined here.

At a time when dance and electronic becomes increasingly homogenised by the mainstream, Mount Kimbie have released an album that still refuses to court the mundane.

The Veils are specialists in a songcraft where the traditional is aided by the current in order to explore new sonic realms. The album, which took nearly two years to take shape, is delicately spun rather than cobbled together, and makes for treasured listening.

Although more than half of the songs on Cellar Door also appear on Massey Hall, there are plenty of fresh-sounding goodies here for the casual listener, let alone the Young buff.

What he does well here, and has always done well, is to embody traditional music; its harmony, its lyrical themes, and at the same time imbue the music with a vitality that never feels forced or disrespectful of its roots.

The album captures a mixture of genres that come together to create a really vulnerable and organic sound. Kesha uses Rainbow to let her listeners into her struggles, thoughts and true personality, something missing from her previous releases.

This is the first New Order album for a long time that sounds like it could only have been made by them.

It is possible to be fooled by the compelling, sugary pop song layers that unfold on this record, but there is so much more going on underneath it all and therein lies some of the complexity and fascination.

In all, Overyjoyed sees Half Japanese play it considerably safer than they used to, and there’s bundles of pop-rock glory to enjoy, but it’s still more than enough for loyal fans to breathe a sigh of relief.

24-7 Rock Shit might just be another slap in the face to those claiming the downfall of rock music. But less talking and more listening.

Fanfare deserves a round of applause for taking a fearsomely retro concept (album as a mega-budget, widescreen statement) and, rather than sinking waist-deep into pointless pastiche or a rehash of vintage mistakes, ending up with a piece of work that would have been remarkable had it been released during the era it emulates, and which sounds remarkably ‘now’ today.

An album that makes for pleasant easy listening, with frequent traces of genius.

Though the album isn’t an entreaty for mass acceptance, Tobacco’s music does sound increasingly comfortable in its stitched-up skin.

There are real signs of musical development on Sremmurd 2 that point to longevity for the duo.

If You’re Dreaming is quintessentially Anna Burch; a unique artist whose music bridges gaps between genres.

There’s plenty to suggest that she is still developing and searching for her true self, but there's more evidence that Flo is a captivating and striking new voice.

Outside the relative intensity of “City Dweller”, sample-heavy “Do My Thing” and “Pulse”, “Gently” and “Deep Breathing” provide musical sorbets between the action. It’s some of the softest production Saginaw’s put out before, and is a welcome break on the tightly-spun ep.

Even in busier moments, there is sufficient enough breathing room to catch each sound and instrument’s subtle exhalations.

Where Care lived up to its title with its balm-like electronics, The Anteroom is often a challenging listen. Its constantly adapting sonic landscapes are fitting for an urgent political and ecological moment: its song-like identifying features perpetually breaking down like a dying star, or planet, or human.

It’s is a fluid, cohesive album that flows seamlessly from one movement to the next--as its cover suggests, it’s a canoe ride without the possibility of capsizing.

From their start, Oh Wonder were putting out high quality tracks that were stylistically interesting and excellently produced. In some ways, it would be foolish of them to deviate from the formula that served them so well in the past. As a record, this is unsurprising by wholly satisfying nonetheless.

International is a sign of gradual progression for Lust For Youth; there’s occasional backward looks by Norrvide, but slowly and surely this music is stepping out of the shadows and into the light.

This isn’t The National’s finest album--for my money, that’s still High Violet, or if I’m feeling fruity, Alligator--but there’s much to cherish on Sleep Well Beast.

A fantastically delivered meld of indie, folk and emo, afford Born Again repeated listens and you’ll be rewarded.

She takes the woozy, sub-bass-soaked beats and splashes glittering melodics over the top, adding her own little sprinkle of icing sugar. Listening to Zdenka 2080 is a little like how it would feel to be floating through space: disorientating and fascinating, leaving you with a constant tingly feeling upon your skin as your drift ever closer to the sun.

For what is a hugely bold manoeuvre, he has carried it out with much aplomb.

With these two albums [All Mirrors and Whole New Mess] she’s proven the vast range of her songwriting, and that she could go just about anywhere with what she does next.

This is a very tight set, sympathetically produced and moving towards the mainstream.