Although the switch to stark monochrome from the blazing multicolour of the Maraqopa trilogy can seem underwhelming and slight at first, further listens reveal In the Shape of a Storm--boosted by Jurado’s hypnotically committed, intimate performances--to hold together surprisingly well considering the disparate origins of the material.

Hairless Toys is no mere pastiche of a scene; there is no major departure in terms of style for Murphy. It is, however, a surreal and poignant exploration of an iconic cultural movement.

Knowing What You Know feels like a journey, one that’s filled with mountainous climbs and treacherous lows, each to be consumed with reckless abandon, because that’s exactly what Marmozets are--a force to be reckoned with.

Though there is some tightening up to be done, and a feeling that Murray has some more grand moments like “Misread” waiting, Morningside is a wonderful half hour spent in her company.

On Wild Crush, Archie Bronson Outfit deliver a record which feels as organic and honest as all of their previous releases, but it has a little something extra about it.

Their ability to approach very specific and often delicate subjects with appropriate levels of silliness makes Eurgh! a fun and relatable listen, especially if a dude has ever pretended to read bell hooks to get you into bed.

June Gloom marks another confident step forward in the band’s quest to live up to their name in the indie-rock landscape.

Another One feels like some kind of sonic intermediary--showcasing the breezy, lo-fi approach that made 2 and Salad Days critical successes, while also offering a sample of what’s to come on future full-length releases.

The themes tackled on BLOOD have been tackled a million times, so the album is much more reliant on how it tells the story than what the story is. Luckily, how it tells the story more than makes up for the story itself. Milosh’s vocals are as beautiful as ever, and the lush tones that paint the album wash over you like a silk bedsheet.

Beth Orton has fluidly transformed her trip-hop+singer/songwriter roots into a fresh, original sound, which will surely resonate with both her longtime fans and new listeners alike, while providing a rich foundation for Orton to build upon during her third creative decade of casting intoxicating musical spells over us all.

It’s unassuming and introverted, an odd mix of murk and clarity which proves to be ever more intriguing with each listen.

The essence of these songs is exactly what the essence of The Divine Comedy has always been. Expanded, with more intricately woven textures, Foreverland is an ode to everything that lasts: from historical characters to our own enduring emotions, the record celebrates the importance of importance on every level.

It’s a deeply engaging, consistently great release from a uniquely interesting artist. It’s just a damn shame that he’ll never get the chance to do it again.

Most of the songs on Air Con Eden are enveloped in this haze of hallucinatory imagery and soporific instrumentals. The wrenching “Water” is a shock to the system. Grounded, unironically sentimental, and unlike anything else on the album, it’s a gorgeous piano ballad about unbearable loneliness.

Driven by the same melancholy curiosity that has epitomised the band’s trajectory to date, it instead makes for a wonderfully apt ending to this particular Kinsella adventure. At least for now.

The direct intimacy with Slone’s inner-thoughts, witnessed both in terms of its creative flourishes and depressive ramblings, is also indicative of this vividly local feature. It'll be the challenge of managing this aesthetic as they continue to grow, especially following the release of such an excellent record, that could prove central as to where they head next.

Ultimately, at minimum, The Lookout treats us to exactly what we’d expect from Laura Veirs in well-crafted and thoughtful songs delivered with a warm and reassuring familiarity. Those listeners tuning in a little more keenly and willing to try these songs on time and again, though, will undeniably be rewarded with some of the finer fruits of one of the most dependable singer-songwriters working today.

Faith is a very, very good album – most likely their best since their debut.

On the whole Good Nature brightly evokes the feeling of leaving your room and opening the doors and stepping outside.

Its slight downfall is a lack of lyrical dexterity, recycling phrases as a crutch, perhaps. The overriding feeling, however, is that this record indicates no end to the creativity of a commercially undervalued act whose longevity was never prophesised.

More than ever, new guitar bands have to have a hook to differentiate them from the masses, and it’s the combination of Lardner’s witty company and QTY’s idiosyncratic approach to a well-loved sound that makes their debut a delight to spend time with.

It’s a record of reflection, of trying to piece together just what exactly killed the relationship.

Slowness is not as instantly catchy as Outfit’s previous releases, but this should not deter listening from beginning to end; on the contrary, the record demands it.

It’s a record certainly fine enough to ensure the pairing will have no issues sprinting to the upper echelons of pop aristocracy.

It makes for a beguiling, snuggling sort of a record, easy to float away to at times, wild and cinematic at others, but always with a warm and unconstructed feel.

For the majority of its running time, Crosses is a slow, steady and comforting listen, very rarely raising above anything more than a laid back ebb and flow.

Beautiful and with a hint of danger, Heritage is approachable and voguish, a slice of neon noir as atmospheric as it is sleek, and a testament to Grellier’s formidable world-scoring talents.

It may ultimately be a footnote in his prolific career, but the album's restrained, nuanced intelligence is a testament to Marshall's pure talent and compelling persona.