I Am Easy to Find is littered with these ambitious flourishes, all of which add up to make a much broader and more pointed statement of offbeat intent.

This is still the band we fell in love with over a decade ago: confessional, honest, enthralling. It's just that this time out they're sleeker and sharper than before.

Meek’s vocals have always been quality, but on this release he has truly reached another level. The soft breathiness is used to the greatest emotive evocation yet, and the controlled manner in which his voice breaks cleanly into the following note in a way inimitable to few others than teenagers (certainly with less class than Meek) is impressive to the point of awe.

It’s Dalt at her most exposed, and somehow, her most inscrutable. .... A cinematic exploration of the self that reveals the human psyche as a strange and uncanny landscape.

This music is experimental and diverse in its sonic scope, but each unique sound is in service of its greater whole, making for a record that is undeniably the vision of a singular artist, a true auteur.

On their debut album, I Love You Jennifer B, the duo show their beating heart, without sacrificing the chaos or creativity. ... It’s a labyrinth of a pop album.

hopefully ! is a new sound, but the album is just as beautiful and personal, showing Loyle Carner’s progress not just as an artist but as a person.

Overall, POST- is a moment-defining record both for Rosenstock but also for wider popular music and culture; it's equal places angry and fun, something we could all do with in 2018.

Fiery hip-hop instrumentals, creamy rhythm and blues balladry and classic lounge vibes are explored with equal excitement--and pulled off with equal panache.

For all the abrupt scene changes, Cocoa Sugar feels a self-contained universe. It gets straight to the point: human experience is messy. Young Fathers will always be restless and surprising, but for the moment it sounds like they’re right where they should be.

It feels like a cathartic release, where she faces her fear of disasters head-on – through floods, tornadoes and burning cars – and she firmly places us within that world right alongside her.

This album seeks to ask questions, to entertain and to create. While the destination may be nebulous, Deerhunter know that the enjoyment lies within the journey. The slow, crumbling decline of civilisation has rarely sounded so good.

If Jenkins is the poster child for anything, it’s that there’s always a place for yourself in the vastness of time and space. It’s a striking, and very human, proposition throughout the record that grief and anticipatory awe can exist as a singular emotion, in a blip on the cosmic scale; the overwhelming ego death of human self-importance and the perfect realisation of its own in-spite beauty, that love and death are on the same spectrum.

So Much Country ‘Till We Get There is barely 15 minutes long; it is scarcely believable how much promise they’ve packed into it. Believe the hype.

Overall, The Bad Fire proves this legendary group can still produce moving, intelligent and vital work even as they embark on their fourth decade. As their lockdown-inspired success proved, Mogwai remain a guiding light in dark, troubling times.

A deeply profound album that’s dense in multitudes, allow yourself the time and patience to bask in Andrew Wasylyk’s latest compelling body of work.

It’s his most sonically consistent record, with beautiful textural piano underlying almost every song.

American Dream feels like Murphy's darkest record to date, and like previous LCD records, only gets better with repeat listens. In short, it's fucking glorious.

Everything about Dogrel feels big, intense, bold.

While not as sparklingly euphoric as their previous album, 2013's Fetch, their long-expected return is a collection of brazen, seering energy beams, like being hunted with a dragon’s breath shotgun in Akira’s Tokyo.

A Firmer Hand is an album in which Hawk daringly takes a searchlight to the complexities of the relationships with men in his life ('friends, lovers, family, colleagues') and, by extension, to the complexities within himself. The result is dazzling.

The Prettiest Curse is their finest work to date – full of assurance and poise, and still an absolute riot.

An album of impeccably considered concepts championed by songwriting that refuses to let the Dublin outfit down.

Altogether, Working Class Woman is an incredibly cohesive art-house album with a perfect combination of electronic music and spoken word, and if it doesn’t punch through the roof of clubs everywhere at least Davidson will be sorted as a kick-ass life coach.

A truly singular statement that vividly captures a century of folk, classic rock, and mid-century electronica.

It is a record that dives deep into the listener's soul and unconscious, burying its soundscapes and frustration there, creating a rewarding progression in their sound.

It’s a confident, competent step forwards from a sure-footed talent, earning its repeat listens through mature considerations. And there will be repeat listens--just you try not to.

These lullaby-like compositions mask a quiet rage throughout, reflecting the internal discord of those who live with abuse. ... Ever the documentarian of devastating emotions, Joseph's latest release sounds newly communal, with a sense of gathering closer those who share the same pain.