Historian feels like a universe that exists before time, somewhere to reach up to when you need to express something greater than yourself. And Dacus shows us the way, with grace and patience and the quiet confidence of writers twice her age.

When experimentation is so often an exhibition of flashy (and flabby) production wizardry, they remain refreshingly committed to keeping you entertained rather than just impressed.

Its one-noted nature will make it difficult for anyone outside of genre fans to want to reach out over and encourage a crossover appeal in the way that, say, Touche Amore have managed. It certainly is an impressive genre album with enough little touches to keep it distinct and interesting.

As its title suggests All Nerve is never a passive listen, it shifts you, touches a nerve, and leaves a timely mark.

There’s an ever-so-slight lack of the precariously raw noise that made Ugly so thrilling, but the crisp, imaginative songwriting redresses the balance.

This record may well work as ambient escapism, but in its serene tenderness it’s also a reminder of the fragility of all that surrounds us.

A rhythmically dense album that suggests Carey’s ever-evolving sound is in its prime stages.

After 40 minutes you’re still not totally sure what it is you’ve listened to. This could be great, messy pop music, or just as easily be something you dreamt, dozing in post-coital bliss with a detuned radio in the background. Whichever it is, you’ll just be glad it exists. If, that is, it exists at all.

Whatever looming shadow might darken your homeland, Music for the Long Emergency offers a substantive retreat, with enough room for minds to rest and wander in peace.

The feminine focus of Remy’s music overlaps with the political in exact and contemporary ways.

SHIRT’s version boasts a stark separation from the dirty south that feels long overdue. As he continues to explore the arts and its many forms, SHIRT needs to better develop his lyrical skill if pure beauty is what he aims to achieve, but this debut marks a promising start.

Will this please die hard fans? It surely will, being filled with the signature Don Broco charm and sound, but shows elements of growth and diversity--as a third album should. The year is off to a good start for them.

Room remains Ought’s most beautiful--yes, beautiful--album to date.

Severe and melodic, Time the Teacher is a shapely journey to the byzantine innards of DeCicca’s mind.

While it sometimes isn’t the smoothest of rides, there’s more than enough here to help maintain a sense of devotion to Wasser’s work.

Overall, the record is recognisably Fallon’s; he takes his best ingredients of trademark likeability and searing emotional insight and transfers it while changing things up musically. It’s inspiring to see a musician like him take strides and experiment, not necessarily taking the safe route.

All in all, Crooked Shadows is where new and old Dashboard meet amicably. It is the most revitalising DC album to date.

Furman has not lost his terrific way with a tune, a rhythm and a lyric, this time often paired up with odd sound effects or quirky instrumentation that just make it all the more compelling and moreish. Although the subject matter can be heavy (and all the better for it), it is presented in fabulous slowly-building pop tune wrapping.

Though refreshingly bold at key moments, Brighter Wounds still doesn’t challenge itself enough to be considered a radical and departure from its predecessors.

An activated rage focuses and elevates the album from standard melodic post-punk to a timely, resonant mission statement.

While there is still room for improvement-–the still clear Nine Inch Nails references somewhat prove that--Criminal will please both fans of the genre and intrigue potential newcomers, of which there will be plenty to this strange, niche genre.

Chura proves that she exists in a different plane where music for its own sake lies at the zenith of what one can experience and achieve in life, and is detached from the excesses of wealth and power it can bring. Here’s hoping there’s much more to come from this magical songstress.

So while Always Ascending is certainly a return to form in places, it certainly isn't perfect, particularly in its middle run. ... Overall, it's a pleasant feeling to have a good Franz Ferdinand record again, like a warm hug reminding one of a simpler time only slightly bastardised by ten years of regressive politics and is seemingly inspiring many of these bands to redress the balance.

There is much to enjoy here and if you have the slightest interest in contemporary classical music or you’re a soundtrack buff, give this a whirl. Jonny Greenwood may be one of those scruffy oiks in a pop group, but he’s proved once again that there is an incredibly musical mind under the haircut.

There’s insecurity, certainly; self-reflection, yes; but more than that there’s resilience, romance, strength, sensuality and an album full of lurching, longing, lustrous pop songs.

These five songs illustrate the beauty behind a constant movement, instead of dreaming up a desired fate or meaning. It treats tranquility and chaos like elements we could harness, not opposites we must cement in our fleeting existence; the doing instead of the being.

It’s continuously changing, perfectly timed, evenly spaced--an impeccable album.

Their adventurous spirit is in such clear abundance on Open Here, that you could almost forget that this is a band with a stronger grasp of the basics than most.