Where Boy King explored the toxic expectations of modern masculinity, Punk Drunk... runs almost like a case study; a romantic encounter in microcosm.

There are moments where things becomes a little sluggish, though perhaps a stumble here and there can be expected when an album tries to fit so much into a short space. For the most part though, The New Monday is a valiant attempt at distilling Detroit’s musical culture into a single, cohesive record.

There’s a buoyant urgency to proceedings, the kind of detail in the lyrics that let you know here is a person telling you stories of the world as they see them in a way that is fiercely meant.

Less cinematic than Luppi’s previous work in scope and style, MILANO is an intimate collection of snapshots about life in a certain place at a certain time. It’s insightful, invigorating, and honest.

Baker doesn’t shy away from the weight of depression, but depending on your emotional state, the album is either cathartic or overbearing.

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

That isn't to say there aren't enjoyable moments on III that transcend genre--the final build in Days Turn Into Years is particularly good--but ultimately, this is largely standard fare.

Overjoyed, Adios Amigo, and Rumer are worth the admission price alone. All told then, it’s a beauty. The album his fans have been waiting for. An album to bewitch people who don’t even know his name yet. Finally.

It’s imperfect to be sure but that’s what debuts are all about. This is potential incarnate.

He’s skilled enough to make it sound agile and purposeful. You’ve heard the individual parts before though, with more range, colour, and taste. It’s Alright Between Us… will do its job, but on the cheap.

Lotta Sea Lice is a joyful, ambling product of two connected creative minds.

Although it's easy to mock Peel's grand idea to create "a seven-movement odyssey" what we should really be doing is praising one of modern electronic music's most enquiring and captivating minds whose skyscraping talent shows no sign of coming down just yet.

The extremes of emotions are covered on Masseduction: the highs and lows of love, heartbreak and just general life. It is the closest we’ve ever been to Clark, and it’s probably the closest we’ll ever get.

Tense synth riffs drive [the track Animals] forward and give it an energy absent from the rest of the album. It is that energy, that immedicacy that made Fuck Buttons such an exhilarating listen, which is so sorely missed on this album.

Take Me Apart may not appear as immediately interesting and unique as her previous work but there are layers upon layers of elements to be explored, digested and, ironically enough, taken apart.

Still, the beating heart behind The Kid is the curiosity and delight that Smith brings to her meticulous electronic compositions.

The record oscillates between earthly comforts (In the Hallway / Keeper of the Garden) and galactical ponderings (Map to the Stars), but Mannequin--a charming, disquieting simile for a claustrophobic relationship--best shows off Mondanile's ambition to step out on his own terms.

We may never get another album as breathtaking as Wolf Parade's debut, but it's great to have them firing on all cylinders once again.

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.

The results are magnificent.

Protomartyr galvanize themselves into a more driving and forceful mode on the likes of Don’t Go To Anacita and Male Plague, wherein lie some of Relatives in Descent's strongest hooks, and ultimately it’s the strength and clarity of the ideas put down that could make this their best record yet.

The album caters for all – there are heavy tracks for hardcore fans and songs with a more approachable indie feel for those who need a gentle introduction to the ways of the Wolf. So sit back, relax and scream to your hearts content.

Enjoy this singular album, this moment, while you can--Clementine won’t be holding his breath.

All the hallmarks of Omni’s debut are present and correct: jaunty, stop/start arrangements, intense guitar melodies, muffled vocals and a propensity for the poppier side of post-punk. It doesn’t quite have anything as immediately appealing as Afterlife here, in fact it’s much more of a grower, but over time Multi-task proves itself to be a triumphant lesson in post-punk authenticity.

The album’s second half slows down and lacks some of the oomph of the first, and the tone does shift around a bit too much, but that’s part of its joy.

There's little on this album that would sound out of place on any of their other works, but GY!BE's apocalyptic vision remains as relevant and powerful as ever.

[Producer Kurt] Ballou’s signature crushing heaviness may have become a cliché in some circles, but paired with Wolfe’s beautiful voice and brilliant writing, it's a match made in heaven.

Lovers may be a break-up album, but it’s one full of optimism, and more than a few catchy pop choruses.