Otherworldly pop that’s sweetly gripping.

Luckily Planningtorock, alias Janine Rostron, has delivered 'W', a masterpiece of art-pop experimentalism that gleefully expands on her debut.

Their classics remain buried in web mixes, but this set captures PC Music’s sublime pop philosophy.

“The album’s aiming for something timeless,” Michael recently told Mojo, and it’s impressive how often this record lives up to that ambition.

This is not a subtle record, but these are not subtle times. So grab a Marshall stack, put it through a fascist’s window and let’s start the revolution. Now.

Interpol temper this album with real atmospheric sadness: the guitar sunspots that flare through 'Untitled'; the echo and ache of 'Leif Erikson'; the way the magnificent 'NYC' brings on the dancing horses for a slow sad waltz through the city's sickness; the snap-shut metal box clang of 'Obstacle 1'.

As changes of pace go, it should be far more jarring than it actually is, but instead it shows a much softer side to a band who should own this summer with their brilliantly heavy two-man mania.

Despite a sprightly run time of just under 38 minutes, the pair cover vast ground, much of it new, across ‘Alchemy’. However, after several sporadic vibe changes, the album’s overall cohesion feels slightly lost, though perhaps that was the intention due to the personal circumstances in which it was created. Nonetheless, it’s clear that Guy and Howard are enjoying their newfound creative freedom to push beyond what’s expected of them.

Ultimately, it’s this blend of new-found maturity and crowd-pleasing choruses that transform Ezra’s second offering into the perfect progression from the sound of his debut.

Elegant and elemental, quietly confident and masterfully understated, Designer feels like a breath of fresh air in a time dense with noise and algorithmic hiss.

For those patient enough to wait for this record to relinquish its quiet delights, the treasures waiting to be discovered it are rich indeed.

Not only does it shine a light on what inspires one of the greatest living American songwriters, it also works to preserve the greats of the past and ensures that the best music and stories continue to survive.

They're at their strongest when at their hardest.

Adrian Toubro sings like every word causes him a jolt of pain, but his songs are literate and fine-crafted, reading like distilled existential dramas.

Only four tracks, but enough firepower to blow up the dancefloor.

It's far too early to say whether they will reach the same lofty heights, but there's something of New Order in Hot Chip. There's the same mix of art school-meets-working man demeanour, an unabashed acknowledgement of the debt popular music owes to clubland and a wry lyrical conceit.

This is an understated gem of a record.

A notable progression from the foursome, and plenty of huge riffs to enjoy at the summer festivals.

Sylvan Esso’s fourth offering doesn’t dwell in solitude, despair, or desire for escape. Instead, it resides in what is left after the darkness clears: tighter connections to the surrounding world and the people who populate it. To borrow Meath and Sanborn’s own words, the album is a bold and defiant example of what could happen when you walk back into the world, “wilder and stranger” than before.

Boasting their strongest set of songs for an age.

Maya Hawke might not be preparing to go back to school, as the character at the heart of this record would be but, if she were, ‘Moss’ would guarantee her top grades.

They're silly but their songs demand to be taken seriously, just like Prince, Ultravox and Bowie. And yes, they're like MGMT--in that they're great.

Ten tracks of exuberant, blissful pop later and it looks like the Mackem lads have actually come good on their promise.

This, their third album, continues the Atlantans' slow but upward career trajectory to date, almost akin to an American Elbow in that they're grandiose, utterly lovely, but unlikely to sell any records for at least another couple of releases down the line.

This is a frequently dazzling piece of work from one of hip-hop’s most ambitious and imaginative stylists.

Villagers fans will no doubt love this record, which has the capacity to obtain a new fanbase with O’Brien’s newly found sound.

Gives hope to a hip-hop stuck in a mire of mediocrity. [18 Jun 2005, p.64]

It sounds like a long-overdue coming-of-age. It’s never been easy being a fan of Doherty, but it’s certainly getting more rewarding.