For the most part, the songs here are less immediately grabbing than those on his EPs, with greater emphasis on atmosphere than thumping beats, but they share the same glitchy DNA.

Short and snappy it may be--its 12 tracks are done and dusted within half an hour--yet the band still manage to cultivate dramatic intent amidst the jangly guitars and posturing hooks.

It sounds uniformly excellent – often radiantly sunny – but for an album concerned with wheel-spinning, it spends a lot of time doing exactly that.

If you already enjoy the band's sound, whether in fervent adoration or in a passing fondness, Keep On Smiling won’t turn you off. It might not be a game changer, but if you already like the game, thats not a problem.

While it is enormous fun, there should be no expectation of a 'shock of the new'; it can feel, somewhat, like ConMan are treading water.

Album opener Angel Fire make it tempting to categorise Vessel of Love as an uplifting summer album. Yet Cook’s lyrics contain a haunting melancholia, touching on love and survival to create a bittersweet effect. There's a hidden depth to her breezy pop that will stay with listeners for days.

At its best, Time's Arrow is mystical but commanding, with electric synthscapes pulling you deeper inward. However, at times the sonic landscape they’ve created risks suffocation, leaving little room for manoeuvre between one song to the next – a lighter touch in areas could stand to draw out more subtle nuances and make for a more compelling journey overall.

Frances’s voice has a tendency to sway into a mumble throughout, making certain vantages into her world a strain to perceive – unfortunately lending itself to the album’s mysterious nature a little too well.

It feels unsure of itself, and what it wants to achieve. ... On the other hand, this sense of insecurity within the album rewards standout tracks.

There's a definite sense of deja vu, and maybe there's less of the bite that made the Durham band's debut Courting Strong feel so vital... but when the band kick into heavier tracks like Goldman's Detective Agency, it's free-wheeling, cathartic goodness.

My Name Is Safe In Your Mouth is warm and intimate, offering a moment of reflection and introspection.

Weatherall is known for bucking trends, forging his own path in electronic music and this album undoubtedly has an experimental, narcotic-tinged feel meaning Qualia will not be for everyone. An album for the heads.

Although Cogan delivers engaging and empathetic lyrics on growing up, changing relationships and even environmentalism, the album has a rather homogenous pace. Despite this, it’s hard not to at least be momentarily charmed by Tallies' nostalgic trip.

Good Nature plods along at a pleasant pace, but there's nothing here you won't have heard elsewhere before.

he languid mid-tempo tones are certainly pleasant and, on the likes of Wildwood, sometimes capture a sense of achingly beautiful melancholia. Still, you’re left longing for Amos’s social commentary to be laced with just a little more venom to truly conjure the state of upheaval in the world.

Between its moderate tempos and spartan production, In Between seems designed to turn as few heads as possible and at first even comes across a tad glum. ... With a little patience though, its sunnier side shines through. All the hallmarks of The Feelies' sound are present, but in a pleasantly subdued state.

Despite some over-zealous Top 40 attempts, High Expectations is a well-rounded pop record.

While Dance On the Blacktop is a fair attempt at taking forward their sound, unfortunately, it feels more like a regression.

Heads Up will still please some fans, and the band will be able to work some of these tracks into respectable live numbers; they’ll even win new listeners. The problem for devotees of the band’s earlier work, and for anyone who’s seen them live, is that they’ll cherish the memory of what Warpaint could (and probably still can) do.

Deaf Havana have moved with the times but it isn’t all sugar-coated and there’s still enough emotion to drive us towards their music.

The constantly shifting mood makes it difficult to settle into a rhythm, which may be due to the missing visual element, but there are more than enough well-executed left turns on Ugly Season to make a solid standalone album.

When Campbell does make bold sonic choices, such as on the spacey centrepiece Dopamine, you yearn for more of that, and less of the interchangeably delicate instrumentals on many of the other songs. Still, Campbell’s voice remains a welcome balm in terms of both sound and messaging.

The Nashville Sound isn't a bad record by any estimation, but there are flat moments.

While Nearer My God isn’t always successful, the imagination behind it is more than enough to give it your time.

On the back half of the record, the production turns towards the kind of lo-fi psychedelia of Stereolab and Broadcast, Clairo embodying Trish Keenan’s detached delivery, another previously unseen aspect of her artistry she wears well. Like Sling, Charm is a grower of an album, Clairo growing with it.

It's to Dacus's credit that Forever is a Feeling still feels grounded in the same raw emotions and subtle details that have rightly made her a star. That said, there is a certain amount of playing it safe.

While Power is sonically different to the rest of the band’s outings, and a solid release that keeps their ever-consistent discography ticking over, it’s perhaps not as vibrant as previous efforts.

There's a point during Transuranic Heavy Elements where the bludgeoning beats pause and something (Guitars? You? The earth?) begins to howl, and you think: This is probably not for everyone.