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.

One of Haines' best efforts, Nine And A Half Psychedelic Meditations On British Wrestling Of The 1970s And Early 80s is an album that does much to encourage the here and now as it does to paint an impression of a time long gone.

Given the rigid stylistic direction of Meliora overall, Ghost seem to be writing for the expectations of the general metal community with songs like the stock metallic chugging of 'Absolution' and the AC/DC-baiting 'Majesty'. Such safe playing prevents Meliora from being something truly special.

A stirring evocation of childhood, community and the nature of memory, The Silver Gymnasium suits being pored over as much as it does driving on a sunny day--and it suits both very well indeed.

Sun is the light at the end of one hell of a tunnel, a record brimming with an assurance and playfulness that, if a little dorky in places, is about as cathartic as pop gets.

[A] wonderful record.

Their world might be lined by wrack and ruin, but it's a world that fits them like a studded glove.

It retains energy, but has enough twists and turns to still provide a consistently interesting landscape. They have made a beautiful confectionary, but one made with rigour, skill, and care. A joyful album, leaving me aching for a live performance.

A physical and spiritual journey unravels in the 37 minutes of the record.

Rub is an album of well-sheened extremes.

Ultimately, though, as a collection that welcomes the near misses and the questionable latter-era caricaturing, The Singles is real and admirable testament to the full Can story.

These are cranky, abstracted journeys through texture, noise and rhythm with howling, gibbering singer Dara Kiely as our unreliable spirit guide. At their best, Girl Band manage to locate a sweet spot between chaos and precision, poise and frenzy, hysteria and logic.

Title track ‘Love Invention’ continues to push this colourful pop juggernaut with its exploration of “wellness” culture, and there are a few songs in this louder kind of vein – painted with the broader brushstrokes of disco and house, with varying degrees of success. ... In truth it is Goldfrapp’s vocal that anchors this record, and things take a more interesting turn when the melancholy sets in (as is so often the way).

Their most rowdy and rambunctious album yet.

Nothing Important is a remarkable record--at times deeply, painfully intimate, but also witty, bawdy, surreal, disquieting, nostalgic, brash and fearlessly individual.

BENEE may not necessarily be an album artist, but listeners will find that most bases are covered within Hey u x’s 13 tracks. ... There’s a song here for every playlist, even if consuming all 13 in a row becomes a bit of a drag.

The conceit of Bishop's new album, Tangier Sessions, is some serious guitar-dork lore that would make any bedroom noodler salivate.

Despite their EDM club appeal and pop sensibility, seven strikingly dynamic and expansive maximalist compositions are still locked in a very private headspace, a kind of solitude that contains multitudes.

It is, by some distance, Krug's best work as Moonface. It's riveted with some glorious, soaring moments and the taut motorik rhythm is a compulsive mesh for the album.

Despite the songs' far-off beginnings, Change Becomes Us is like an aggressive, steroid-pumped continuation of the band's excellent 2011 album Red Barked Tree, a testament to the band's consistent faithfulness to the key signatures of ice-sheet psychedelia and jackhammer punk.

The folk guitar rhythms and stray words are easy to catch, and that surface level listen is pleasant enough. But the immediate impression of gentleness is something of a bait and switch. Maria BC calls for you to be on your toes so that you are not caught off guard when the message finally breaks through.

Building Something Beautiful For Me is a gentler listen by comparison [to 2019's For You and I], with some anger still there – just distilled into something more gleaming and triumphant.

Pangaea's Fabriclive is the much needed and triumphant reboot the format's needed, istilling something of club music's ongoing renaissance into a seamless, pounding missive. Every act is one to watch and discover, but at this point none deserve to be followed as closely as Pangaea himself.

These 12 tracks serve as a bombastic backdrop for Svenonius’ treatises on living the life of an anti-capitalist svengali; they're a guerrilla garage rock manifesto imbued with fever, fervour and soul.

This is a solid pop album and Nayeon’s charms shine. Her voice, visuals, and sweet attitude deliver a feel-good tracklist full of fluffiness and catchy hooks, but it’s also clear that her own colour still waits to be found.

While the first disc replicates the original album, the real meat is to be found on the remaining discs.

Polygondwanaland is one of their strongest excursions yet, not just of this year but of any.

Still Slipping Vol. 1 bounces effortlessly from one style to another, from the intricate 2-step of 'swag' to the melancholic house of 'better'. There's a nod to '80s post-punk on 'playground', and gloriously throaty verses from James Messiah and Goya Gumbani on 'swag' and 'playground' respectively. Rather than a bold new direction, the mixtape feels like a peek behind the curtain, turning the dancefloor monolith into somebody we can all relate to, with Mum calling up to be sweet about something she doesn't quite understand.