Impending apocalypse aside, Infinite Summer still proves itself to be a record of substance.

Rather than build on that record’s [The Shadow Of Heaven's] elegance and lightness of touch, MONEY have traded it out for something less polished, that’s often brutal in its emotional delivery. Not an obvious next step, then, but certainly a compelling one.

Sadly, what should have been a triumphant return ends up being as forgettable as the time of year of its release. It’s a middling album birthed in a middling, gloomy time of year without much joy to offer. Not even a proper chuckle.

Absent any actors to push the narrative along, Here Come the Rattling Trees can drift by during its more passive instrumental passages, but never less than pleasantly so.

M:FANS is certainly a fair deal more interesting than yet another note-for-note trek down memory lane.

It’s Chairlift at their most vulnerable, but also at their most jubilant, documenting their burning passions with their most confident sound to date. Most importantly, it’s Chairlift at their most fun.

Shearwater strikes a proper balance between anxiety and artistry on this new record, a tenuous equilibrium that the world desperately needs to find on its own at the moment.

Now in their third decade the song remains the same, but on The Waiting Room Tindersticks still sound so out of time that ironically their music feels neither dated nor futuristic, it just is.

It's hard to analyze Segall's music without thinking about his reputation as a studio rat, but Emotional Mugger is an enjoyably warped deconstruction of buzzy guitar rock.

Their music is an extension of themselves, pure id, and that’s what makes them so enthralling. This is the sound of a death-or-glory headlong charge.

Neither comprehensively “here” nor “there”, up nor down, eager nor listless, these eleven tales--while perhaps lacking more than three obvious peaks-- betray a quiet confidence and command that will surely see Sea Pinks properly arrive.

There aren’t any synthetic contrivances to be found on this focused, intensely revealing record, for there are far too many of those glitzy baubles around us at all times.

The result is a lengthy cinematic suite of songs.... and in the rest; a record’s worth of epic, towering soundscapes built on sturdy prog and indie rock foundations.

Where similarly grandiose songwriters like Chris Martin and Bono flail at balancing the huge and intimate, the personal and mass appeal, Anderson strikes the perfect balance on Night Thoughts.

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.

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.

Not to Disappear is made as carefully and beautifully as you would expect--balancing the acts of remaining true and pushing forward. It does this with an air of self-assured calm and the clarity that a few extra years of being alive bring.

You might not speak Spanish, but great music is universal and this, is unequivocally that.

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.

As with David Bowie’s entire career, he’s once again given us enough to keep us wanting more, while reminding us of all the inspired gifts that came before.

Lovingly co-produced with Paul (Mansun) Draper, Davies is on startling form throughout, layering spellbinding vocal harmonies and turning her hand to a long list of instruments with names few will even recognise.

Leave Me Alone is flawed, but its flaws are what makes it so beguiling.

Elsewhere is a compelling debut, on which Moore has successfully revitalised the folksy feel of some of her earlier work. For a first album, it’s certainly a triumph.

Black Rivers are creating sombre yet euphoric, uplifting music that shows how to sound far out whilst still retaining the knack of writing beautifully cohesive songs.

In the end, And After That We Didn’t Talk is as impressive of a rap debut as there has been in 2015. Once GoldLink’s reputation catches up with the quality of his music we may just have a new superstar on our hands.

It isn’t overly ambitious, but after more than two years without an official release it is still a treat to hear Pusha T, even if he stays largely in his cocaine comfort zone.

For it's forty minute duration, Meat Wave's second record is one of the most engaging you're likely to find this year.

There’s a slew of modern classics to be cherished on Chorus, which makes it a must have for the completist and a treasure trove of gems for anyone entranced by the combination guitars, pop music and songs about love.