As debuts go, it’s not on the same level as their mates Wolf Alice, but it is a compelling listen and a worthy addition to any burgeoning music library.

The results may on occasion be fraught with discomfort, and feel like a caffeine overdose, but in that respect Get To Heaven is an accurate reflection of life today, with its overwhelming tags, mentions, likes, unread messages, stimulants and stress relievers.

Don’t Weigh Down The Light certainly rewards repeated listening.

Yuck, however, sadly comes off after several listens as a little flat, the low points seeming all the more so for resting, as they do, in the shadows of the occasional peaks.

It’s as good a debut as you could hope to hear, a fresh injection of pure brilliance and beauty to a genre that is creaking under the weight of mediocrity and a lack of adventurous inventiveness.

[A] rich (at times too rich) ambitious record that hints at gimlet-eyed determination rather than wispy pushover.

PINS give the impression of enjoying themselves while not taking this whole rock ‘n’ roll thing entirely seriously. Just seriously enough to make something really fine.

There might be a song here entitled Failing At Fun Since 1981, but this album is stupidly good fun and, on top of it all, an unmitigated success.

It’s often difficult to know whether these songs are rushed and off-the-cuff, or whether they are in fact meticulously planned.

The desire is there for more of that visionary spirit--though the suspicion lingers that with everything just simply too available, Moroder no longer has the focus and inspiration that fired his finest work.

Red Kite is bound to be a hushed, understated, and at times rather lovely soundtrack for the (hopefully) balmy summer days ahead.

Whenever Carpenter sings, the music seems to adopt different qualities--more reflective and melancholy perhaps – but not in an introverted way. Her tone is also brighter and more outward reaching. It is this further meeting of worlds--unforced and compelling--that makes Motorcade Amnesiacs such a successful work.

A thoughtful debut on which art is sorrow, sorrow is art and Eastern influences are incorporated deftly. Most of the time.

Collaborations may not work for everyone (hi Metallica, rest in peace Lou Reed), but this is one that certainly does.

Apocalypse, Girl is the thrilling sound of an artist expressing herself without the slightest hint of self-censorship. It’s one of the year’s most individual and original albums.

It’s unlikely that this album will achieve legendary status but there are more than enough signs here to suggest something massive might be around the corner.

Listening to this album is rather like a lucid experience that you never want to wake up from--and it is Sankey and Warmsley’s most impressive record to date.

In summary, Drones is utterly bonkers and silly. And yet, it’s for the most part enjoyable.

From the poorly thought out lyrics to the day-glo “punk” cover and the calls to revolution that ring hollower with every listen, this is an album that flatters to deceive.

Fatima’s Hand is another evolution for McPhee’s singular playing style, and a characteristically immersive, absorbing experience.

There are some spine-tingling moments here.

There’s a darkness that runs through this album, but it’s almost always offset by something positive.

There is a sense, though, that the nuances and detail of The Shakes need careful unpicking. It might be a return to dance music, but it’s far from disposable.

There’s little going on beneath the skin here and it’s an unfortunate if sadly inevitable fact that other significantly more talented musicians from Iceland will never attain Of Monsters And Men’s levels of popularity.

This might be blues, it might be doom, but the return of Goatsnake can be nothing other than a good thing.

The High Country shows many sides of Someone Still Loves You Boris Yeltsin. Most of those sides are easily palatable and enjoyable, with the odd mis-step here and there preventing it from being a must-buy.

A frustrating album whose unremitting melancholy frequently feels like an endurance test.

This album provides ample proof that Ash’s embers still fizzle away and look likely so to do for some time yet.