Nutini reins in the melodrama, and Caustic Love is testament to that restraint.

Faraway Reach is a happy place full of group hugs and big shiny grooves.

For first-time listeners the distinctly compilation nature of the record could prove disorientating and less rewarding a listen than any of Olsen’s singular, more complete albums. But that’s generally the case in any rarities album. For fans of Olsen's work this is a treasure trove of lesser known recordings that capture the artist in a period in which her sound was ever-evolving and progressing.

Wallows are at their sunshine best on tracks like ‘Marvelous’ and ‘I Don’t Wanna Talk’, bouncy bright tracks which hold clear influences from Tame Impala, Vampire Weekend, Mac DeMarco and the likes.

Flawed but unbowed, it is a fascinating but frustrating listen.

A broad, diverse and enriching album, the ten tracks which make up Culture Of Volume are each distinctive but seamlessly connect and click together to produce a piece of work that will both delight and enthral.

That a record so dark and ripe with nuance can also harbour such blatant pop sensibility belies the duo’s young age while serving as a testament to their rampant eccentricities.

Expect to be challenged, provoked, and amazed by this near-heavenly debut.

With greater room for booming electro-ballads and crisply produced dance numbers, Tenderness is more engaging than its predecessor but no less immersive, making it on the whole a hugely accomplished return.

If you like your pop with a bit more bite to it, then Tegan and Sara are everything you’re looking for.

Ash serves as a stirring, reflective statement in uncertain times. Russell’s production throughout is outstanding too.

It's predictably brilliant; another display of Dear's dazzling musical imagination.

Even after several listens there's little here to really strike a chord with the long-standing Foos fan. That's not to say it's poor - it's far from that.

The travelling folk shows of Michel Cleis and Die Vögel, healing dancefloors and faiths while handing out daisy chains, head the electronic curiosities helping join the dots of a compilation that poses as much might as it does magic.

This is the sound of a questing spirit pushing at the parameters of unlimited freedom, a hand reaching out to grasp infinity and not falling far short.

Opener ‘Shock Out’ illustrates a playful approach that floats on the periphery of danger while ‘Slay’ sees her really flex her lyricism complete with a wavy flow. As is to be expected, The Bug’s production floats in the oxymoronic universe of heavy and atmospheric that is both haunting and devastating.

‘KOMPROMAT’ is an album that cements I LIKE TRAINS once more not only as a force to be reckoned with but as a band who are able to deliver a delicate critique on society.

The future, past and present is Enter Shikari’s, restructuring the sheer meaning of creativity with another commanding album.

It’s sci-fi, afro, poetry delivered with a snarl. This may not be for everyone, hell, it may only be for the brave, but if you take the ride you’ll be vastly rewarded.

It's All Real continues along the same lines: lush production, low-key bleeps and bloops, a hushed, lovelorn 2am ambience.

The music is engaging, yet thought provoking. It sounds unlike his previous three releases, but there is a continuation of ideas throughout. It’s an album from an artist who doesn’t pander to trends and goes his own path.

Oxymoron is all killer, no filler--and despite some tracks here not quite translating to radio, in the album context nothing feels out of place.

While every track on The Haunted Man is brimming with invention, there's little to keep you coming back for repeat listens.

While some moments may be a little theatrical, the astounding musicianship and production pulls it back, from the thick woodiness of clarinet and raucous cupped trumpet to the unbelievable percussion and strings.

This is a timeless collection of blossoming ballads.

A four-track EP that runs for the best part of 25 minutes and possesses more depth, more intrigue, than most full-lengths running to twice as long.

Wanting more of something is hardly the worst criticism to be leveled at an album. With this long-awaited release, Santigold has once more shown the world she’s one of the game’s most unique, imaginative, and fun creators. It’s good to have her back.

United States Of Horror is wired on a different kind of anger--these tracks seethe with violence and disgust, raging at dark political orders, economic inequality, racial tension and fractured society.