Laurel Halo’s most ecstatically esoteric effort to date, which, in the case of this artist at least, is another way of saying that is both her best and her most joyously listenable.

It’s disarming, actually, how an album this heavy can be so kinetic, so compulsive, so--the word seems wrong, but funky.

In between almost every track the calming voice of an unnamed narrator tells us a bit more of the fantasy. Such a pompous, and quite frankly pretentious, idea shouldn’t work, but the sheer chaos of the group’s music wrapped around each piece of spoken word makes everything flow beautifully, somehow.

It’s a confident, naive, sensitive journey that plays to all of the strengths of the artist without sounding ostentatious. It’s an emotional listen, but a necessary one.

Trouble Maker is a return to force for Rancid< and is the musical equivalent of a football team winning a major trophy after years in the wilderness and the absolute elation that comes with that. However there is a downside. ... Rancid could have released Trouble Maker at any point since they began.

In summary, this is an album which is trying to be lots of things for lots of people. The sadness being that where Royal Blood appealed to so many because of its abandoned musicality and aggression, How Did We Get So Dark? may run the risk of losing its soul and beating heart in order to please the masses.

The album falls somewhere between curio and convincing; there’s enough here to hold the attention of the casual Mac fan, however fleetingly, but diehards should find a bit more to dig into in the brighter moments. A worthwhile exercise.

Pierce and company might never release anything as tight and high caliber as their debut album, but they are heading in a new direction while still remaining staunch pioneers of the heavy synths and reverb style that warranted them attention in the first place.

Somehow, by taking these backwards steps, Peaking Lights have, rather bizarrely, flown forwards, proving in the process that, when handled correctly, nostalgia can be a fine tool. A fine tool indeed.

It’s clear that after a year on the road with the same musicians he’s back into thinking in band mode and how songs will best be served by a four piece line-up. This result is more fully-realised songs.

Crack-Up is perhaps Fleet Foxes' most epic and inventive record yet.

Where British guitar bands like the Arctic Monkeys have failed in enabling their audiences to dance in any way more stylised than an up-down jump, this guitar band play songs you could very nearly jive to, partner in hand.

It’s not essential in the way Illinois is essential, but fans would be mugging themselves to not at least give it a whirl.

It’s incredibly satisfying to hear a band reform and sound completely reinvigorated--every second sounds like it’s been pored over for hours, and Erol Alkan’s encouraging production sits perfectly within the music, never intrusive or stifling.

The catchy songs are catchier; the melodies are tighter; the peaks and troughs dip higher and lower. ... If crossover hits were still a thing in the indie game, 'Watering' would be the low-key bridge to a more post-punk-savvy crowd. But other moments just fail to pop, like the title track that’s blown out and unfocused.

On The Optimist, Anathema really do cement their title as one of the UK’s most revered rock bands, prog or otherwise: it’s a big jumble of ambitious ideas, executed near-perfectly--a mess, but a big, sprawling, dense, euphoric, beautiful one.

The nicest aspect of this thoroughly nice record is that Black manages it without sounding either insipid or cloying.

The first two singles released of the album, ‘J-Boy’ and ‘Ti Amo’, are enjoyable enough, setting the scene with shimmery ripples as you’re engulfed by the clubby rhythm, disco-balls swirling through every riff. But they also reveal the main flaws in the album: both build promisingly into grand reveals only to stall and go nowhere, like revving a car in neutral.

There are moments of heart-stopping beauty throughout, as well as a newfound optimism that propels the songs to swelling heights.

Holding down lyrical matter which often floats in the air are drum machines and timers, and the production of the whole record is incredibly clean. Sometimes a shininess works. At other points I can’t help feeling a little more griminess would be more apt for the subject matter.

This is a promising record from a still young UK band who have, with their second record, somewhat mastered their craft and it will be exciting to see where they go next with it.

That’s the half of Relaxer that I can live with, the half that strives actively to dispel alt-J’s pretentious front and swing for the top of the charts. But then, my friends, we return to the 'House of the Rising Sun'--because here, on this wikkle precious cover version with the cyclical Leonard Cohen guitar, we’re reminded of every reason to hate the three blokes.

I Used to Spend So Much Time Alone is pretty in its sonic gloominess and witty in the way that it wears its anxieties on its sleeve, but what makes it special is the way that all of that is grounded by the sturdiest of anchors--the quiet optimism that friendship inspires.

Far from perfect, but confident and assured.

It’s also a big album: a long, sprawling epic that stretches out for it’s slightly-padded running time, but one so full of ideas and intricacies that it’s an easy album to get sucked into.

There is something both abstract and individual and yet universal about the way that Harding writes and presents her trials and triumphs of the heart.

Maybe !!!’s latest effort isn’t revolutionary, but it is rebellious.

For now, You’re Welcome is a welcome addition to Wavves’ discography, and achieves a range of maturation, both sonically and topically, that Williams has not previously exhibited.