Seven years on from their first record, Shopping are still giving audacious levels of energy. It would be interesting to see the band develop their electronic experiments even further in their next album; though All or Nothing builds on its predecessor, it only gives us a taste of what the trio can do when left alone with a synth.

There Is No Other is a similar, gentle masterpiece [to Beck's Morning Phase], but there's leather located behind the silk and the record packs an emotional punch.

Aside from the heavenly chorus that opens the title track, this feels very much like business as usual – which is no bad thing. Nada Surf are a fine guitar pop band. There’s not much sense on Never Not Together of them looking to change things up.

Overall, there's a real sense that La Roux is on autopilot, resulting in a ‘samey’ sound that struggles to hold the listener’s attention.

It takes repeated plays to reveal the subtle depths, the pump organ, accordion, electric bass, melodica, mellotron.

Navarasa: Nine Emotions is a rollercoaster of vibrancy.

Silver Tongue may prove to be a bridge, between a time of turbulence and a period of renewed creative independence. However, even in that, this record is proof that she can remain uncompromisingly herself.

Brooding and hypnotic, I Was Born Swimming is delicately sombre, yet diverse in such a way that evades any risk of tedium.

Moments of despair are gorgeously balanced by tight, optimistic motifs that are dotted throughout the record.

It’s a superb return to the traditional album for Deacon. He's clearly learned a great deal making soundtracks, producing a record of a grand cinematic scale with a clearer eye on creating emotionally shifting tracks. Yet Dan Deacon maintains his constant look towards salvation and joy and retains an almost incomparable gift for conjuring them in a listener.

It's a surprisingly spotty album from an artist who rarely puts a foot wrong.

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.

Overall, the band have carefully crafted another winning record with just a few tweaks to their regular formula. Maybe not one to win over new fans, but a solid addition to a sparkling oeuvre.

This early run of songs is perfectly enjoyable and the lyrics play superbly with country clichés, but rarely does it reach towards the quality we know the band to be capable. That is until lead single Gentleman turns up and gives the album the kick it needs.

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.

Quite honestly it's a difficult record to find fault with, as each listen offers a slightly different interpretation. A creative triumph for any artist, Deleter is well-rounded and a welcome return for the Toronto outfit.

Everything that grooves here (over half the album, which clocks in at 19 tracks) is great and makes you want to see the band live. The rub? Making a New World is a song cycle about the after-effects of the First World War.

Seeking Thrills is an album that delivers on its initial promise, proving that the upward trajectory Georgia currently finds herself on can only continue.

While the music itself never strays far from Lewis' usual anti-folk template (although In Certain Orders' spot-on replication of The Cult's mid-80s stadium rock sound is an interesting aside), there's a focus and commitment to make each of these songs sound the best they can. It's a plan that's worked and Bad Wiring is an electrifying addition to the Lewis canon.

The album's arrangements are uniformly beautiful, coddling Staples' vocals at all times, though sometimes to the point of being overly cloying.

The eight-track album features themes on the new age norms of class, gender, race and power that shape the world today. Beyond the sweet melodies and striking instrumentals, New Age Norms 1 is a project with a message.

It all sounds nice enough, but it's lacking the biting insight of the best Oldham records. Luckily, the second half is a lot more contemplative, with a fascinating final triptych of moody cuts, reveling in an air of opaque imagery (less so on the final track) and campfire rumination.

Despite its title, New Ways doesn’t break boundaries or really see Vollebekk break out of his typecast. But it is nonetheless a nice, warm album.

Sticky harmonies and the running theme of longing for something more are just a few elements that make both GUV I and GUV II very fun, intriguing listens.

I and II are both lean, economical, sweet and seemingly genuine. Both have a similar emotional tone but demonstrate some stylistic differences. The songs on II are a little slower, groovier and less manic.

Stepping away from the core sound of their debut was a bold move from Girl Ray; they don’t always quite pull the change off but, when they do, Girl can be a charismatic record.

Finding strength in vulnerability, and the tug of war between contrastingly feeling powerful and helpless, angry and devastated, after heartbreak, has rarely been so well conveyed on record.

The best album of Vetiver's career. Provided we all agree that Nick Drake’s Pink Moon is as good as Sunday morning music gets, Up On High is just about the sweetest Sunday morning record you’ve ever heard.