Cole’s most affecting statement to date.

It’s a slow-burning beauty and is certainly amongst Cunningham’s best work to date. His next moves will be closely measured against Lines, as this is a soaring debut made to last that will resonate with people for years to come.

Despite Daughter of Everything’s brief runtime, its sheer number of tracks and subgenre bending lend it a sprawling quality, not unlike Robert Pollard.

The album works best when you bear in mind the turbulent times that inspired it. Ti Amo has a romantic heart, and Phoenix use it to find the bright spots in a tragic world, without losing sight of the tragedy itself.

There’s no doubt that it’s a more sober affair than their previous work, but as a snapshot of a country in turmoil, it’s a weighty, sometimes euphoric and completely compelling encapsulation of time and place.

When all’s said and done Chills On Glass is an exhilarating record with a variety of shades, but its biggest achievement is its ability to create such weird and wonderful sounds whilst maintaining the potential to appeal to more than a small minority.

Butler has sculpted a complete, resolute collection of high-grade dance music.

This one’s a slow burner. And it’s nice to be reminded that sometimes, that’s a good thing.

As the band continue to explore the elements of shoegaze, jazz-melodies and saccharine pop at the edges of their well-worn indie-rock, Happyness find themselves back in top form and ready to reach out once more into a chaotic unknown.

Lanza's second album is brief, bright and sophisticated, and while it doesn't push any boundaries or cross borders/genres as much or as often as a fan might hope, it does deliver on the sonic and melodic promise of her debut and offer that chance of a wider audience that has been promised since her first appearance.

Quilt are a group well aware of their strengths but not willing to overplay them at the cost of their distinctive balance, and Plaza is stronger for it.

They still unleash stunning music on Origins without always seeking to shock.

Its gentle musical cacophony is tipped over into truly scary territory by the lyrics of sole constant member David Thomas--all delivered in murderous mumbles and frustrated, elongated moans--transforming Lady From Shanghai from a run of the mill quirky rock album into a thrillingly worrying piece of art.

Murder is hellishly dark, terminally weird and subsequently very funny.

Walrus convincingly display a sense of contentment on Cool To Who, guided by a sound redolent of late-'60s/early '70s songwriting; a format that, while not revolutionary in and of itself, is executed with enough style and supple brevity to denote an increasingly honed command of structure in their output.

Taken all together, When We Stay Alive is the sound of an individual and a band finding a new purpose, a new way to live and create – even if it is within the confines of familiarity.

Sillion will leave you feeling drained, but also enriched. It's a piece of art.

Exai operates within a comfort zone--one that’s dazzling, but given the sheer length of this thing, also far from easy to stomach as a whole.

Dungeonesse have brazenly managed to distill the best parts of modern and classic pop radio down to a sweet, everlasting core while creating their own sparkling, sugary sound in the process.

The eclecticism yields some misses along, like the paper-thin reggae of “Cliff Hanger”, and the Bronson’s one mode just about outstays it’s welcome by the album’s final moments, but he remains colourful, deeply entertaining and stubbornly unchanging.

While the band leads us down roads we have assuredly traveled before, that doesn’t make the sights and the sounds any less interesting or intoxicating this time around.

The wondrous melodies sometimes come across as overly whimsical and fey, but Death Vessels create a communicative link from the human heart straight to the unknown realms of the cosmos.

However cloaked in black this record often feels (the closing track “Sister” deals viscerally head-on with the issue of rape with passion and extreme clarity), it’s rarely at the expense of any listening pleasure; sure there’s little let up in the mood but when the writing is consistently good you really can’t quibble about wanting more colours on the palette.

Whilst Central Belters has plenty of great music on it, it’s a confused marathon of a listen. There are too many obscurities for the casual fans, too many hits for the dedicated.

Each tone, note, or scrape here seems deliberate and purposeful without ever feeling overly controlled.

Trap Lord is not an A$AP record; it is an A$AP Ferg record, sui generis, and that is its greatest achievement.

This highly visual, lyrically-driven mode of storytelling might not appeal to Baths fans who appreciate the minimal vocals and delicate restraint of his earlier work. ... Romaplasm, however, is clearly an album made by an artist who has made the choice to create in a way that works for them, blending innovative electronica with the storytelling of a comic book artist to produce a truly innovative LP.

It might be a little light on lyrical substance, but it’s gorgeously melodic and irresistibly mellow; they don’t make pop records like this any more.