It’s a refreshing diversion from yer average psych-noise fare that’ll hopefully be explored further on future offerings.

Booming walls of sound are favoured at the expense of nuance, leaving Belong too regularly thirsting for a banner hit, and ultimately, offering a perfect example of why bigger isn’t always better.

Running to an hour long, Magna Carta becomes exhausting, bumping familiar motifs with such frequency that, as the album nears its close, the senses feel entirely numbed.

Sadly much of the rest of Music Complete is by-the-numbers New Order, and revisionary as opposed to revolutionary.

At their best though, Junip’s exotic folk gems have a slow-burning charm and are an impressive step forward from Gonzalez’s easy listening cover versions.

Collapse Into Now suffers somewhat. It's good. But it's no Reckoning. Or Document. Or Automatic For The People. Or...

Glass Animals should definitely continue tinkering with their sound; they just haven’t yet earnt the right to full reinvention yet.

It’s just unfortunate that ‘ISTHISFORREAL?’ is less of a philosophical treatise and more a frustrated misrepresentation of Purdy’s abilities.

We’d be looking at an even better record had it allowed the space required for her often unrecognised jaw-on-the-floor vocals, but as a whole Melanie C has drawn from a whirlwind year to make a jubilant album that understands where she is right now.

Ultimately, the songwriting isn't quite weighty enough to sustain a full album. Worth a check if you're a previous fan.

On this record Leftwich has managed to turn tragedy into uplift using a consistent sonic formula.

At times her deliberate vocal style disconnects the listener, and one hopes as Green’s career progresses, she trades in the allegories for something a bit more emotionally inclusive.

‘Funeral’ is a mixed bag, and feels more like 24 tracks Lil Wayne had lying around than a coherent project. It’s a shame, because there’s a very good album somewhere in the 24 tracks on offer, but it’s weighed down by a lot of filler.

Hardly essential, then, but Unplugged is a fans-pleasing release that serves as a reminder that songs with great longevity needn’t always be played loudly.

An album that suffers from feeling just too assured.

Haines’ singular vocals have always been the band’s not-so-secret weapon, and it’s here [on ‘Enemies Of The Ocean’] where they shine greatest, jumping from hauntingly beautiful to full-on rock goddess mode. However, much of the rest of the album just goes to highlight how it’s a game of two halves. You could literally compile a list of the numbers that are over five minutes as the standouts and ones under as pedestrian.

It'd be unfair to tag Dreams Come True as merely a curio for Grizzly Bear fans. It's more than that--but only just.

Herring’s blessed baritone vocals teamed with their trademark bittersweet synth and hefty baselines will continue to make for decent, honest albums for as long as the four-piece please, but the introduction of a faster, lighter tempo in tracks like ‘The Painter’ and ‘Hit The Coast’ could mark the beginning of a much-needed dive into uncharted musical waters.

Yes, the production is razor sharp, the beats are skewed and often very loud which makes them feel important, but in reality, it's all a façade; an image.

The only maturity in their sound is towards a more ambient quarter. Elevator music not quite, but rising out of the background might be an issue.

More Waitrose advert than classic Wrigley’s; the Black Keys’ raw power’s been polished. Some things are meant to stay rough around the edges.

LAHS is the sound of a band in transition. A record where the sunshine is too few and far between. They’ll surely be back on track before long, but for now, we’re going to have to look elsewhere for that aural vitamin D.

Their commercial star has long since waned, but there is enough here to suggest that Gomez's creative light still flickers on.

Was it worth that wait? That’s open to debate, but it’s definitely not an album you listen to and wish they hadn’t bothered.

While undeniably sweet on a surface level, 'Cry Mfer' is a clear reaction against the self-seriousness that runs rampant throughout indie music, and while its conception proved challenging for My Idea, this debut is a clear sign that specific working relationships can bear remarkable fruit.

Unfortunately, HAAi’s music here tends to be a bit stiffer, forgoing the benefits of a heady groove in favor of direct impact. If you’re up for it, it might well help you ascend, but it often feels like a forced way to go about it.

One wonders if the venture should have reached out to the band's full catalogue, but it remains an adventurous extension for those who hold them dear.

Let’s Go Sunshine is a solid album, though not groundbreaking. It is clear that The Kooks have tried to deviate from their established sound in a way that doesn’t completely alienate older fans, and rightly so.