All in all, Almost Free is a FIDLAR album - brash, unhinged, wild, a tad nonsensical, but most of all, a testament to their nature.

This record represents a bold, imaginative first step for a young band that seems poised to take their sound anywhere.

Edge of The Horizon rarely moves away from the mid-tempo switch which does make you scream out for a euphoric ‘Paper Romance’ or ‘Cards To Your Heart’ moment, so effective on their last album.

At times the songs could do with a bit of pruning, the elongated blues of the closing “Liquid Lady” overstays its welcome somewhat, but Until the Hunter is an immersive and rewarding record that will keep admirers of their other bands happy and shows that side projects can be more than rock star folly.

Generous but gradually revealing.

The magic by which we were all spellbound in those early days remains, now augmented by a newfound range of diverse influences. Rogers writes anthems for the modern age, with all the paradoxical feelings of empowerment, anxiety, heartbreak and growth that that entails.

Singularity may not be a huge departure from the sound that we’ve previously heard from Hopkins, but this record is a masterclass in musical sonics--a reminder that music should be absorbed, not left to simply pass us by.

Something On High could definitely do with just a pinch more of life at times.... But regardless of this, it is still an incredibly powerful debut from Sivu.

In the nebulous field of psychedelia, there’s plentiful room for a band as immediate and audibly exhilarated as Virginia Wing.

At its best the record is a playful, pulse-raising thrill-ride; and you can see that musical dexterity on display here will be staggeringly impressive or bewilderingly inconsistent, depending on your taste. I guess Yesterday Was Forever, but tomorrow is where we’ll see the best from Kate Nash: this feels like the last step before greatness.

Green's lyrics are a 140 character pop song. They are hyper-condensed. This can make them seem lazy and tropey--but she knows what she's doing.

This is a hugely charismatic debut that, above everything else, is just very good fun.

The Things We Do sounds like the product of an alternate reality in which Bruce Springsteen was a teenager in the 2000’s who spent all his time crafting the perfect instant messenger away notifications instead of ruminating on small town America. But Alex and his bandmates pull it off with sheer conviction and force of will.

Rousing, downtempo pop to soothe a troubled soul.

The boisterous new record is filled with plenty of raucous glimpses of what has beat at the unsteady creative heart of this notoriously dubious band for over 15 unpredictable years.

It’s hard-hitting, but behind every tightly honed riff lies a bubbling sense of optimism, and these songs are as resonant as they come.

Life After Youth is proof that the best days needn't necessarily be the early ones, and marks a strong and exciting return for fans and band alike.

[A] frustratingly muted but nevertheless enthralling follow-up.

Alone Aboard the Ark is an album that moves The Leisure Society forwards, outwards, and upwards, as a band that continues to grow into their story.

Communion is brimming with razor-sharp summer pop anthems that succeed in bringing a smile to your face time and time again.

Constantly changing, Mothers is whatever you want to make of it. Presenting a sound that never settles, and will never tire, Swim Deep have at last demonstrated the strength they've always been capable of.

Somewhere Else makes for an invaluable addition to any self-respecting pop-loving household.

They’ve used the time to come to terms with the loss of Cintra and create a sonic identity beyond his input, and it turns out that they didn’t really need him, and, just maybe, he was stalling their progress.

It’s truly a fascinating listen and shows Maus on the cusp of confidently venturing into unknown territory. Even if he isn’t fully there yet, Maus is able to generate enough to show that it’s within his reach.

Themes and aims aside, Sub Verses is simply an example of Akron/Family’s continued good run of form, and undoubted confidence.

Strange Friend is a cosmic krautrock gem, like TV On The Radio raised in the Highlands, bustling with excitement and teaming with a million different ideas, eager to spill them all onto the canvas regardless of the mess it will make. But what a gloriously colourful mess to behold.

It’s a great ending to a great record, one that musically takes Bulat a bit further from the folk comfort zone, but not so far as to lose the essential character of what she is about.

WIMPIII culminates in a kind of languidness which shows that sometimes you have to let the songs lead you, rather than coercing them into something they shouldn’t be. There’s a coherence that exudes from the sparsity in the songs, and they’re never left feeling empty.