It works well as a fun stop-gap before Segall’s next solo effort, ‘Emotional Mugger’, arrives in January.

Following the birth of her first child, the underappreciated Laura Veirs recorded an album of mostly traditional folk songs for children, which has charm far beyond the nursery.

A record, feels truly – and brilliantly – emblematic of the sharp, controlled chaos that Paris Texas have honed over a handful of previous EPs.

What's extraordinary about Otherworldly--its expressive saxophone blare, heavy afro-funk workouts, hepcat proto-rapping and unyielding positive vibes--is that it feels like these dudes haven't aged a damn day.

Mountain Battles is both a joyfully lived-in and boundary-free album.

180 doesn’t contain too many weak moments; only the tacked-on-at-the-end ‘Brand New Song’ feels properly superfluous, an in-joke they’ve run a little too far with. Otherwise, you’re struck by the strength of the songs, and the roguish, self-assured charm with which they’re delivered.

This record is not the sunburnt wooze of Tame Impala: it’s angrier, colder.

It’s truly dreamy.

Lost Friends is a set of pile-driving anthems that demands your undivided attention.

Father of Asahd isn’t perfect, and the celebratory baller vibe can get a little tiresome at times. However, this time round, whenever Khaled shouts “Another one!”, his catchphrase, it actually feels merited. DJ Khaled’s true talent lies in bringing people together.

It’s an all-enveloping record that puts the listener at the centre of the overwhelming intensity of Ferreira’s life these past few years – and offers a front-row seat to her wrestling back control.

Exploration of I, Gemini reveals its quirks are knitted together with extreme smoothness.

The immediate reference point would be a Swedish Coral to the power of ten--but it's more mental, more hippy and psychedelic. [14 May 2005, p.67]

They have a new sound, a warm, lush and funky noise powered by producer Danny Sabre's sympathetic programming alongside Tony Rogers's bold keyboards, and they've created a great party record with it.

Those in search of a tightly cohesive album knitted around a single concept have probably come to the wrong place entirely – but for a sprawling answer to the band’s two huge 2019 breakthrough records ‘Two Hands’ and ‘U.F.F.O’, then look no further.

These nine songs often build and build only to splutter out in a last, exhausted gasp. And then the next track cranks up and the cycle continues, giving the record a grinding, thwarted sense of frustration.

The heavier moments refuse to act as a sledegehammer of alt-rock pastiche, which this record could so easily have been. Instead, it’s a showcase of songcraft that’s allowed to breathe and reveal itself. Bring on volume two. The dream lives on.

This is the sound of a band at their most confident, capable of still pushing the boundaries they seemingly reimagined years ago without overwhelming audiences with their own love for endless improvisation. There are no lyrics on this album, but it feels like you can hear these three musicians louder than ever.

‘KiCk i’ incorporates pop, experimental, noise, electronica and psychedelia into one project. Amid a highly acclaimed career, Arca’s latest album presents a new high-water mark.

By the mirrorball moment that heralds the lengthy coda to the closing ‘It Girl’, you’re left giddy and breathless, applauding a 20-year veteran who’s finally found his voice.

The result is a record that’s as fun as it is furious, and as confrontational as it is cool.

Being adventurous can often mean over-reaching but, in this case, the production turns familiar elements into one of Fucked Up’s most intriguing recordings yet.

There’s more space and sophistication to The Spark than we’ve seen from Shikari before.

An intense, emotional record.

It's a fine build-up to the Selkirk quintet's fourth album, due out early 2013.

If the Dutch producer's last album 'Great Lengths' was an exercise in contemplative, spacious dubstep, then Ghost People is instinctual; muscles tensed in observance of the cerebellum's basest of commands.

As thrilling as Gwen, as badass as MIA. [17 Jun 2006, p.37]

There’s still a sense, at its heart, of a warm, yet slightly neurotic overthinker, sat at a mixing desk in his bedroom, possibly in his big white underpants, and just going wherever the spirit takes him.