Throughout these thirteen songs, Big Joanie leave no stone unturned sifting through fresh backdrops in which their ethos resonates. And for the larger part, they brandish vision and resourcefulness aplenty in this all-embracing quest.

Personal, moving, poetic, humorous, and engaging.

A fantastic set of songs approached with a reverence that is never stifling, and one in which fans of either act will find plenty to love.

Dissed And Dismissed is basically all gold, as long as you're not so jaded by years of inane indie chirruping that any combo of upbeat guitar melody and sad-lad lyrics induces a visceral reaction.

Each creative filament feels fully charged, dancing across tides of mercurial water. Lattimore’s harp echoes and elevates a time that harks back to a more distant past and Barwick’s synths and siren-calls keeps us in the glass-edged moment.

It’s a spun-out, pastoral journey that attempts to unbox and contextualise the ‘now’ within the history of twentieth century Britain, after the end of the First World War. And yes, be warned, it only folds out to reveal itself at a careful walking pace. So you’ll need to buy in and have patience to get rewarded by its – real and significant – qualities.

Although Cocoon Crush finds Hertz pushing in a more organic, expressive direction than on Flatland, it’s a record that is still stamped with his distinctive quirks--thanks no doubt to his studious self-editing--as he continues to chart a path as one of current electronic music’s most consistent producers.

Herrema and her group are obviously having a blast, and the fact that they have managed to blend so many disparate ingredients into a surprisingly potent brew is far more important than the supposition that they might not be taking themselves too seriously.

This is an album that seems to spring from an indoor world of cerebral textures and bedroom experiments, a headphone odyssey for an era in which the rock gig has become a corporate-sponsored burlesque.

Days Are Gone, their long-in-the-baking debut album, is properly great, sounding effortless and breezy in a way that only something worked over like a jewel can.

Ultimately, Midnight Rocker is a worthy, maybe even essential, addition to both Horace Andy and Adrian Sherwood’s massive catalogues. It’s not perfect, but there’s a strange vitality in its imperfection, and that energy, that vitality – whatever it is – is incredibly compelling.

Although Seeking Thrills has many brilliant tracks, ‘About Work The Dancefloor’ is still Georgia’s signature song – and a neat summation of her mind set. It seems that while thinking about and working tirelessly on her songs, she can slip into dreams of their impact in a packed venue. Fortunately, Seeking Thrills is often good enough to take listeners to that delirious high with her.

Powerhouse, is not solely a political statement. Instead, it is simply a story of queer existence. From childhood to present day, the album floats between chanting expressions of self-certainty, to intimate biographical snippets. Rather than looking for approval, Planningtorock, is laying out their experience and listeners can take it or leave it.

Run The Jewels 2 is a great listen because of the artistry on display, but it's the pent-up frustration that takes it into the stratosphere, that makes you want to hug your loved ones and thank god for each breath while you set fire to the neighborhood.

Shrewdly, she rarely repeats herself, keeping things fresh by always being adventurous. That’s worked throughout her career, and it works on Tension especially.

This is a bold confessional and one made all the stronger by music that's creative and daring without ever once straying into disco dad territory.

Centralia is an album of surprising, subtle depths, a spacious, psychedelic landscape where the traditional meets the modern in a dreamlike combination of familiarity and strangeness.

Nadav Eisenman of Herrema’s post-Trux bands RTX and Black Bananas does a commendable job without distilling any of the band’s indomitable spirit or underlying power. ... The careful sequencing of the album, with the vinyl pressing clearly in mind, reminds me of the potent placing of tracks on Raw Power by Iggy & The Stooges.

Celebration Rock encapsulates the kind of affirmative, collective experiences that define an entire adolescence.

The tracks are constantly in restless conversation, playfully sparring, casting light on new angles every listen. .... Implosion conjures a dystopian Ballardian skyline, but at times is able to point beyond it, offering a glimpse of how much more the genre has left to explore.

Across the album, Csihar proves himself a top-tier metal vocalist operating between growling, shrieking, operatic wailing and other inhuman vocalisations. Necrobutcher’s presence on bass is equally notable. In a genre where the instrument is often buried, his lines remain audible and forceful, contributing to the chaos, rather than disappearing into it.

If the continuing relevance of this material was never seriously in doubt, in resurrecting a swath of the Cabs material that had unfairly languished in obscurity for far too long, Mute have done a service in recovering an important transitional period for the group and for dance music in general.

Little Simz' third studio album, Grey Area, sees her swing confidently through the duality of youth to harness the harshest of her vulnerable, raw moments, and the best savage, wisdom-weaponry, giving each reflection on herself pride and place on this record.

'Green's Leaves' is perhaps the most florid of all the tracks--in a good way--and it actually breaks down at one point into what could almost be described as a hoedown, but not quite. Like most of the tracks here, it's quite lovely and never outstays its welcome.

In Pale Bloom, Davachi reconnects to the piano on a spiritual level, releasing whispers and wishes of delicacy and delight into the ether.

The intensity is stunning and continued across the remaining nine cuts, but shaped into divergent designs.

No More Like This is intelligent but not chin-stroke music. It’s for the dance floor – and the after-party.

While there has was never any doubting their psychedelic influences and their way with a groove, Wraith offers something more. Full of variety and unpredictability, like the best science fiction it maps out a dreamworld of our times, a tonic against the deathly thoughts of the small hours.