Grizzling, fuzzy guitars occupy a large amount of the album lead parts and chord shifts between major and minor mix up the mood while still retaining a positive outlook and feeling of cheery hopefulness. It’s short, sweet and easily one of the band’s best efforts to date.

Ultimately, >>> is yet another excellent record from Barrow and co, one which will surely delight for quite some time post-release.

The songs are resonant and cleverly unhurried--the group aren’t afraid to sit in silence, letting a feeling wash over the listener for a beat before continuing their story.

As its title suggests, Chris is a supremely confident introduction to the next phase of Christine and the Queens.

Gazelle Twin has crafted a masterpiece that feels timeless, her most deft blend of punishing and melodic yet as well as a fearless examination of both then and now.

The Art of Pretending to Swim is an album that will reveal itself after a few listens.

Double Negative is a magnificent and courageous record, if you’re ready for it.

Like each of the other eight explosive and grinding grunge tracks that make up Heaven, I Feel Free works to wipe the slate clean and start afresh. Despite the ferocity, there is undoubtedly uplift woven into the very fabric of each of Heaven’s blistering tracks.

Over the course of ten tracks in 30 minutes, Terry display the sheer prowess of their pop sensibilities and punk aesthetic, with brilliant movers and shakers like The Whip, or the more reflective Oh Helen at the core of it.

Much more than mere offcuts, Great Thunder instead offers some stunning moments from Waxahatchee with Katie Crutchfield at her most off guard and most personal.

It's a study of musical form that is innovative in its approach and experimentation.

Solo Piano III is colourful and humorous; the sheer musicality of the work is astounding, bringing the listener as close to contentment as music possibly can.

The second album from Leschper’s Atlanta outfit Mothers, it reaffirms the band’s talent for making the familiar sound so strange.

he album could be considered experimental in its dizzy melodies and introspective topics. The entirety of Black Rainbow Sound delves into an unknown use of electronica; combined with indie-rock drum beats and guitar riffs, Menace Beach maintain that depth and power of a solid electro-indie album.

A Better Life is total fire from the get-go, offering great melody and pop lifts that you’ll be singing for days. Buck-wild and vicious songwriting, not for the light-hearted.

It’s not all headbanging and blistering hooks. Penultimate track Hangovers plays with the classic album construct of a stripped-back number, yet it’s really in the nostalgic nod to emo heartache where Muncie Girls dazzle.

Although this album has some appealing pop melodies, any further examination or appreciation removes their surface-level charm. Elevator music isn't bad, it just fills awkward silences.

Let’s Go Sunshine is a triumph for a band unafraid of pushing their sound, fusing together a variety of influences and flying the indie-pop flag high and proud for all to admire.

ANNO stands as a collection that casts an old master in a new light while cementing Meredith’s place as a constantly startling and boundary-breaking contemporary composer.

Besides some pretty clear face value, there are layers, moods, attitudes and tones to dissect and unpick which are overshadowed somewhat as the album stands.

Featuring contributions from Jody Stephens (Big Star) and Brian and Michael's father Ronnie D’Addario, Go To School is a true beauty and a classic in its own right.

Not only are the band adding to their soundtrack credentials but they're also getting rather good at the old pop banger.

By its closing tracks though, the relative lack of shade to balance the bubblegum-coloured light can become a bit cloying, the endearing charm of the sugary nature fading slightly. Nevertheless, Laading and Fitzpatrick have still delivered a debut that suggests they’ll be continuing to craft impossibly catchy off-kilter pop for years to come.

Sprawling, magnificent, dangerous and fantastical; this beast is--however extraordinary--an apt representation of the 11-song extravaganza it adorns here.

Their confidence is so clearly on show here, and despite two fresh members for the album they're already tight and unanimous of their vision: "to make interesting, up-tempo rock & roll."

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

What Marauder provides is a top-up of Interpol for the band’s most dedicated fans, but nothing that approaches their former glory.

While Deportation Blues may have come from that place of great turmoil, it also further magnifies the dynamism and creativity that underpins BC Camplight’s work.