This isn’t Furman’s best album, but it might be his most heartfelt, his most intense, his most candid – and that’s more than enough for now.

With most tracks comprising largely of delicate vocals and the mellow strumming of guitar, the album does not stray far from Paul’s distinct, dulcet sound. However, despite the sound not differing largely from her debut, each track on At The Party... presents a distinct purpose, yet when considered as an album as a whole each track seamlessly melts into one.

GINGER yields a sound that is more emotionally evolved than any album thus far. ... The result is BROCKHAMPTON have finally come of age.

Elliott’s latest body of work, the fittingly titled ICONOLOGY, is a taut collection of slinky, self-assured hip-hop that fuses throwback sensibilities with the rapper’s trademark futurism.

Most disarming moments occur when things quieten down: the gently swirling, beautifully troubled “Turbulence”, for example, describes the daily grind and bustle with almost Nick Drake-ian grace and reticence. The closing "Devotee" occupies similar regions, with a propulsive, creaky organ coda that hints at what might be if Modern Nature got a bit looser next time around.

Braindrops is as cerebral and gut-level as its name implies, high-minded and high volume, a grand mess that isn’t really a mess at all.

Its confident coating signals the beginning of an exciting new path for Jay Som.

For those that grew up with the band that they would even release a second post reunion record is probably enough. For those that have joined the party late however, it does nothing we haven’t heard before. And unfortunately, those moments where the album soars instead of stalls, come too infrequently to leave any lasting impression.

With buttery vocals and perfectly-paired suave jazz instrumentals, - Ugh, those feels again is slick in its depiction of enigmatic love. While it may not be breaking boundaries sonically, the album’s saving grace is Aalegra’s thoughtful lyricism in which she encapsulates fear, loss, heartbreak and self-growth with tenacity and an empathetic tone.

It is all bark, all bite and Power’s greatest and most consistent release under the Blanck Mass alias, bearing a message that is as crucial as it is necessary.

Rather than coming across as naïve, Shura has created something hopeful and delightfully light in this record, setting it apart from much of pop’s current offerings. It is the perfect soundtrack to the end of summer, and all the months after spent remembering it.

The Murder Capital’s first record is a despairingly indulgent listen, but a powerful beginning from a band that promise to bring the passion of emotion to a genre.

Stylistically, this record is a strikingly bold step for the band and it is impossible not to feel Clark’s influence.

While Chris Cohen is by no means a bad record, the combination of muddy production value and laid-back pace can make it feel like somewhat of a drag to listen to (despite it clocking in at just over half-an-hour), and, while there are gems on here, you certainly have to seek them out.

Despite its purpose, The General is a warm, intricate experience that can soundtrack whatever you need it to on each listen.

This is an album that you can feel as well as experience, perhaps the most complete Bon Iver album to date. Justin Vernon’s emotive approach to the album balances the individual and the communal with perfect precision. With a firmer grasp on reality and a new and brighter perspective, a unique mix of creativity and bewilderment remains at the core of Bon Iver.

Live at The Troxy is still a gem of a record that acts as affirmation for those who were there that the show was as spectacular as they remember, and as a legitimate teaser for those who want to catch Fever Ray live next time she’s in town.

Any Human Friend is an explosive body of work, one that isn’t afraid to discuss sex and female eroticism with a microscopic lens. Peeling away the layers to reveal an intrinsically human record.

Ultimately, First Taste exemplifies Ty Segall’s shape-shifting qualities. Here is a man who delights in trying on many a mask, restless and impulsive.

He demonstrates an effortless knack for crafting intricate and loveable pop gems, while shamelessly embracing heart-on-sleeve lyricism about love, dreams and shooting stars. ... He has managed to produce one of the year's most interesting indie records.

In many ways, Föllakzoid’s latest is the kind of album to lose yourself in, a void to fall through or a sea to sink into. In the band’s ongoing effort to depurate and cleanse their sound, they have created an album that is at once ominous and tranquil, only occasionally held back by a delay in presenting its most interesting ideas.

EHAO is about as good a compilation of modern rock songs as you’re likely to find, but one can’t help but wish they’d had the devilish urge to include some of their most adventurous cuts in the place of their already well-known and mildly overexposed tracks. ... The only new track included here is the rather wonderful “No Bullets Spent”.

Guy Walks into a Bar… is an album built on disco-dreams and broken hearts and is guaranteed to show you a good time.

Running parallel with Aster’s allegorical fetishism of interpersonal decay, Krlic's music - even at its most choking and hopeless - feels luminous, making for a perfectly-poised accompaniment to one of the most challenging genre films in recent years.

There is not as much variety on Fever Dream as “Alligator” had seemed to indicate, but there is a clear shift – it feels more open, musically, than ever before. There’s a confidence mixed with fragility, like a band born again.

On the whole, Hotel Last Resort is nothing special in the band’s career, and doesn’t feel like it, either. It’s simply another solid effort from a group that has yet to put out a bad one.

The sonic architecture crafted by Chance is both spirited and steely in its gravity.

It’s curious to hear Chris Clark join the ranks of underground British artists drawing inspiration from the essential weirdness of Northern European folk music, yet by the end of Kiri Variations, it feels like a masterstroke.