It sounds precisely like what it is: a very straightforward Franz Ferdinand record.

Sellers has the distinct tics of a (significantly but not entirely) self-taught musician but also flexible stylistic impulses that keep Primitives at arm’s length from rigid genre tags.

“It’s Okay To Cry,” “Ponyboy,” and “Faceshopping,” open the album in that order balancing SOPHIE’s pop instincts with her weirder ones. “Faceshopping” is a highlight, both visceral and compulsively listenable, using Photoshop as a metaphor for becoming more comfortable with her body.

Add a tad more polish--if they so choose--and it’s surely only a matter of time before they’re razing the main stages to the ground.

Good things do come with time, and this LP is no doubt a stopping point on Active Child's journey to uncharted, challenging places.

In For Ever, J and T have taken their ability of animating moments in life, and have looked inward, applying it to their fresh heartbreak. Littered all round there’s signs and sounds of love’s wreckage.

Colder has no intention of redefining or reshaping the electronic music world with Many Colours. Instead, Tan seems more interested in seamlessly adding his saturnine musical textures to the growing sonic palette of the modern club scene, while also reminding us all just how on point and of the moment his sound continues to be.

Although they bring precious little new to the table, they have mastered the art of hiding beautiful melody under layers of glorious distortion.

Whilst there aren’t as many obvious hits on this record as 2009’s chart-bothering Only Revolutions, Ellipsis is an album that will undoubtedly keep Biffy Clyro right at the top of British rock’s hierarchy.

Changes in timbre aside, those expecting a progression or departure in sound from the last two Mac releases will find them subtle, if present at all. But frankly, as with its sensitive and charismatic creator, it’s hard not to like This Old Dog from the start.

With every listen, each song takes on a new richness, becoming something that will simultaneously become the sound of summer, yet a particular personal soundtrack that you’ll keep on coming back to.

For many of their ardent followers, it’ll be no surprise that this nine song offering fits comfortably within the band's back catalogue, rich as Third World Pyramid is with all the hallmarks of a BJM release.

They’ve made a cracking collection of songs on Dalmak that are immersive and highly visual--even without lyrics, the four-piece are adept at weaving tabula rasa backings on which vivid imaginations are free to roam and gallop like free-range chickens.

While a lot of the mood is pretty solemn of Sleeper, there are some sun-kissed moments, that despite still being lyrically dark, remain blissed-out chunks of acoustic summer-pop.

Just like Cohen, Devoldere is a fanatic for detail. The instrumentation and vocal delivery on Warhaus meet perfectly in the middle.

Overall, Have U Seen Her? strikes a great balance between rocking out with piercing, lacerating soundscapes and soothing nerves with heartfelt songwriting encompassed in diverse melodies. The balance falters at points but it’s never irreparable as ALMA rights it again with the natural magnetism of her music.

It’s an emotional record first and an ambient record second, and one that will resonate even with those who typically aren’t fans of the niche genre.

While their new LP isn’t a beaming success, Ascending a Mountain of Heavy Light is indeed a push for change within the metal community and with that simple act of newness, The Body and Full of Hell put their own personal stamp on things.

For a project Woon spent four years on, Making Time is a surprisingly breezy listen. It feels a bit slight at times, especially given the lack of variance in tempo, but it’s hard to find much fault with this collection of smart, soulful work.

All things considered, Angel probably lacks the invention and imagination that it’d really require in order to be counted amongst the genuine candidates for the business end of the year’s ‘best-of’ lists; the sheer stylistic versatility that they’ve demonstrated, though, in swapping the claustrophobia of Crawling Up the Stairs for Angel’s wide-open spaces, should be enough to ensure that they’ll be there or there abouts.

The collection instead represents more of an expansion on their current sound and scope, and finds a band still willing to take risks 40 years into an exalted career--still not caring what we think of it, but daring us to follow them where they lead before the Wire factory goes quiet once again.

What makes Jaded & Faded great is the fact that you can still be stuck humming the buzzsaw riffs or cooing a vocal line to yourself hours or days later.

There is as much tenderness as there is explosiveness on Pure Vida Conspiracy and the band once again demonstrate their depth, breadth and potential for excellent showmanship.

Grassed Inn anchors itself with sturdy, rhythmic melodies, which is the biggest testament to Blank Realm’s mission of increasing focus and tightening up their ship.

Throughout, the unifying characteristic is the richness and warmth of the sound, a million miles from the lo-fi of old; this is the prettiest Owen record to date, and there’s no shortage of strong contenders for that particular title.

A surprising and moving step forwards in the restless career of a master melodian.

As brief as it is, and as unadventurous as the remixes are, Music Industry 3 Fitness Industry 1 may just be the mouthful of Mogwai nourishment needed by those left wanting more after Rave Tapes.

It’s a record that’s weird in all the right ways, and signals the emergence of an exciting new experimental force.