Indie-goth, shoegaze, post-punk, all of these descriptions fit but none of them can begin to tell the whole story and with the arrival of In Search of the Miraculous there is a sense that this soulful, anthemic, continually evolving band are just getting started.

It's Yorkston's voice that will capture you. Whispered stories are nothing new in folk music, but there is something more compelling happening here, especially when the Scottish author breathes in tune down your ear over brushed drums or oscillating organs.

Remarkably generous in its open nature, it further cements Jacklin’s place as a future alt-country great.

Brickbat is never less than a delight: a sparky and genre-spanning showcase of songcraft and ambition. Lovingly rendered, a clean mix allows its often lavish arrangements to soar.

This is a record that feels handcrafted for the fans that waited so long for new material. Had you already previously invested in their icy yet sleek sound, then Ladytron is a welcome, if not wholly groundbreaking, return.

There is nothing necessarily new offered here in the way of direction or sound, however Zeppelin Over China adds a suitable chapter to the story of Robert Pollard, who recently celebrated releasing a mind-blowing 100 albums over the course of his career in various projects.

Coated in oohs, FX and distortion, the record’s production by Margo Broom (Fat White Family, Goat Girl) is rich and textured. A tight debut, ticking all the boxes; job's done.

A record that never quite seems to find its feet, despite having a plethora of creative and interesting ideas.

The lyrical paranoia dovetails beautifully with the raw, bone-scraping arrangements to powerful effect, challenging listeners in both intensity and message. It feels like the record HEALTH were supposed to make.

Pratt’s voice is still gorgeously muffled and her words remain indecipherable at times. But while she may have once sounded fragile, here she is almost swaggering.

A compilation of 13 new recordings of past songs and covers, Mayonnaise--and its Hellmann’s inspired cover art--are as buttery smooth as the well-known dressing. The recording is as clear and intimate as a living room concert, which is a treat, as Deer Tick is one group whose touring has made them terrific showmen.

White Lies have succeeded in creating an album with much more scope that is a testament to the enduring nature of their sound. Five denotes a chapter in the band’s career but it does by no means symbolise the end of White Lies.

Although listening to Olympic Girls is an immersive experience that takes the listener away from their reality, it's bittersweet--and not the kind of contemplative place that you would want to linger in for too long.

If Apocalipstick saw Creevy swept up in mainstream music headlines, Stuffed & Ready (much like a well-seasoned Thanksgiving dinner) is self-satisfying, turning inwards on her own state rather than the United kind.

While it may not be the collection of hits we were hoping for, The Sun Will Come Up, The Seasons Will Change is a little like a compilation of musical diary entries sprinkled with newly learnt wisdom: it’s fun, it’s new, and it’s Nesbitt's coming-of-age moment.

This album offers a view into the minds of a pair of singular artists who might differ in their delivery, but who both understand that a glimpse of truth is a whole lot more intriguing than a disingenuous attempt at the whole thing.

It’s here to piss off metalheads, push boundaries and showcase that BMTH are certainly not one-dimensional.

Bold and ambitious, Future Ruins is deliriously difficult to place, and all the more exciting for it.

Nothing about this album is ordinary and nothing can be taken for granted – least of all the artists themselves. Get Tragic is a powerful album, raw in its unflinching honesty, experimental in its lyrical and instrumental balances, and deeply moving in its frank exploration of all that Ansell and Carter have made it through to reach this point.

Better Oblivion Community Center isn’t an obvious step forward for either artist but it’s a generous and grounded collection of songs, showcasing the complementary talents of two of America’s most talented songwriters. By the crackling close of final track Dominos, you’re more than glad they opened their doors.

TOY continue to put their own unique spin on psychedelia with Happy in the Hollow, and it’s one that clearly works, but ultimately the record lacks in any kind of urgency and doesn’t push much further on what the band have already achieved with previous albums.

A stunningly controlled and moving work, for fans of ambient and instrumental music Temporal is a must-listen.

I Have to Feed Larry’s Hawk delivers the same meticulously crafted, 60s indebted, but still idiosyncratic psych-folk that Presley is known for. It just happens to be sandwiched between some of the most outré music he has ever put to tape.

While brevity has consistently been a feature of Moolchan’s work, here the relatively short song lengths mean that some tracks can feel somewhat intangible, ending before they seem to be getting into their stride.

This release isn't going to be for everyone (trading a harder sound for radio-rock seems to divide fans more often than not), especially with a band of 40-somethings attempting to make widely accessible rock tunes.

This is the work of an artist who's been honing his craft for some time now, and is perfectly primed for his moment in the spotlight.

The only downside to the album is that it is so easy to listen to, we are carried almost unaware to The End, the final track in a collection of well-thought-out and well-curated tunes.

Act One: Music For Inanimate Objects is certainly a good album, but sometimes it feels like the only thing linking all the songs together is their slower tempo.