It’s a dark, smart and thrilling debut.

If tracks like ‘New Town Velocity’ or ’Easy Money’ passed you by, this is an opportunity to reacquaint yourself. The Smiths songs, of course, will be of particular interest.

‘Glowing In The Dark’ travels through endless landscapes, erratically veering from sun-drenched psych-pop (‘Right The Wrongs’) to video-game instrumental weirdness (‘The Ark’) and acoustic bliss (‘The World Will Turn’). Vitally, though, its feet never touch the ground, and the illusion is never broken.

His ninth leaves behind the wearing synth experiments and lo-fi oddities of recent years for a set of witty piano-pop songs.

Right now, their bouncing glamorama feels like the most important album you could own.

It’s an impressive step-up from an artist who was already operating miles ahead of their peers. ‘soft scars’ can be an emotionally excruciating experience, but it finds yeule connecting with their humanity in ways that seemed impossible just one year ago.

Surprising, eclectic and intimate.

Showcasing the eclectic Tinashe many OG fans first loved, ‘333’ gives off the same energy as early mixtapes such as ‘Black Water’ and the aforementioned ‘In Case We Die’, reminding us of the singular artist that Tinashe is and always has been.

There are moments on ‘Blue Banisters’ that don’t quite match up to the high bar Del Rey has set for her output. ... For the most part, though, ‘Blue Banisters’ reminds us that, beyond the social media fires and press backlashes, Del Rey is still as great as she’s always been.

Much like the sardonic vocals heard in the latest post-punk revival, Ice Spice says plenty in her delivery, relying on the tonality of her voice – levelled, calm – to do much of the heavy lifting. It makes ‘Like…?’, her debut project, such a sharp listen. Her voice remains monotone but that only makes the lines hit harder.

Let it be said that Lex Hives is amazing.

Ariana’s core fanbase are bound to find an instant, sugar-rush of pleasure in this fascinating side-step from an artist who – until now – has made her name by stomping down the traditional pop path.

It’s to the LA based quartet’s endless credit then, that they manage to not only make their revamping of the sound fresh and funny, but poignant too.

Davidson’s Working Class Woman is smart, intriguing and deserves to be heralded as one of the year’s most inventive releases--Lord knows she’s worked hard enough for it.

If this is an awakening, consider our attention well and truly captive; clever, confident, and utterly comforting.

Musically, they've come on. Kevin Baird's bass work – always a highlight – is finally showcased to full effect on the 'Rip It Up'-style swagger of 'Wake Up' and the jagged riffing of 'Sun', while 'Pyramid' features some seriously impressive guitar noodles.

It's irresistible. [16 Sep 2006, p.36]

Their strength is that, musically as well as sartorially, they’re unafraid to plunder and repurpose styles previously considered naffer than Bluetooth headsets.

Not only does it banish the memory of "St Anger" but it’s easily their best work in 17 years.

‘Loud Without Noise’ covers a lot of ground – including relationships, mental health, and social inequality – with the songs working on two levels. Minto often addresses an issue on a broader scale, while also tying it to personal experience.

It’s a record that will become like a familiar friend over repeated listens, and shows how the band have built elegantly on the foundations of their debut, fizzing with self-belief at every turn.

The Black Angels’ psych scholarship pays dividends here.

For all its fast-paced absurdness, Love Is Magic carves out quiet moments, too. These tiny, rare diamonds stud a world that can so often feel completely evil. It’s a balancing act that Grant ultimately pulls off.

‘Everything Harmony’ plays like the next progression from their promising debut, and what stood out about them then is what stands out about them now. With their fourth album, The Lemon Twigs have honed in on their ability to not just lift from the past but transmute what inspires them into something imaginative and new.

Farewell to Condale, the ’80s teen-flick soundstage for Summer Camp’s brilliant rom-pop 2011 debut; welcome to the slick ’90s house club of their equally impressive second.

The most obvious progressions are the band's clearer song structures and Lee Spielman's vocals.

A melancholy streak runs through the album’s second half where tales of devotion (‘Lifeboat’), longing (‘Daydreams’) and ruminations on mental health and anxiety (‘Nightmares’, ‘Living Strange’) shine.

Far from experiencing growing pains, Car Seat seem to have had a lot of fun here.