My own axes aside this is a fun and highly commendable record; well produced and with some excellent pop songs in tandem with enough stratagem to be considered a real credit to the band: scattered hints of genius, however, are not the same as the real thing.

The result is the sun-drenched sister of an opiate-subverted Sonic Nurse, the musical equivalent of Coleridge in the afterglow of an acid trip.

Despite its sizable number of tracks, Quickies does move along at a brisk pace—even if its scattershot sequencing makes it better to digest as the five 7 inch-EPs presented in the physical version.

If Thirstier was a declaration of love from the rooftops, What an Enormous Room is the relief of a serene evening in her partner’s arms.

Yeah, Minks has churned out an enjoyable full-length debut, but there's an ever-present possibility that it'll get lost in the mess--much like the standout moments on By the Hedge, there's always a haziness enveloping everything like a dense fog.

Caught in the Trees might have scored even more highly if it didn't trail off a bit, with Jurado seeming to run out of inspiration towards the end.

There's a fluidity and looseness to White's approach on Fear of the Dawn, giving the impression he's having a good time kicking it with his buds in his garage.

A welcome addition to the avant-garde canon, an album that demonstrates the continuing development and growth of Mice Parade and Pierce.

Enterprising Sidewalks may not be the best album released on the label this year, or even Lorelei's best album for that matter, but if the band can continue this kind of determined progression, it leaves me with hope that both the band and the label will grow with each new release.

Where before, sounds could often exist along similar planes, he's now added a multi-dimensional aspect, with Exoskeleton in particular.

Applied with both spunk and sophistication, The Courtneys II is a laudable follow-up that deftly captures their growing musical rapport.

Overall, Silver Landings finds Moore regaining her footing.

This is Kim Deal’s version of scuffed-up shoegazer rock, albeit with a shit-eating grin shining off the moonlight.

Almost every track in Calling Out features a good sorting of conspicuous power chords provided by frontman Ezra Tenenbaum, a reminder that it’s not just about fidgeting with careful arpeggios.

If ancient Rome is where you want to go, Ancient Romans is your time machine; your one-way ticket to that magical, distant land.

There's an amazing balance on Feel It Break. You should have everything you need, if your needs are met by a beautiful blend of virulent lyrics, pumping beats, with addictive dark melodies.

It’s a maiden voyage with a few kinks that need to be worked out. One promising aspect is White’s new pet project, The Kills singer Alison Mosshart.

Warpaint are at the very top of their game, showcasing a full understanding of their sound and the tools needed to get the best out of it. Heads Up is more of a sideways swerve for the band as opposed to a notable shift.

It works because you can tell how much Pharaohs love house music, how much they seem to wish they’d been there back when it was taking off in the mid-80s.

Though the album's theme is fairly inconsequential, more appealing as a one-off project for diehards, their prog-folk experiment breathes new life into a band that had seemingly lost their way.

All that being said, every track has at least something of interest about it, and with Obscurities managing to squeeze in fourteen of them in less than forty minutes, even the worst never outstay their welcome.

It’s a bold, enchanting and captivating record that is of genuine interest to hear, as opposed to a long drawn out chore, which an album like this it could have so easily been.

Patience is a record that never really takes off, but is a perfectly polished take on their thoroughly original sound.

It sounds like a natural progression for the Londoners, and in the process, they have made something that tips its hat to decades-old tendencies whilst sounding more modern than most records to drop in 2017.

Wonky is a very structured album, and although quality control may lapse slightly toward the end, it deserves to be considered a triumphant return.

Mature Themes celebrates many of his favourite artists, but it is not an homage to anyone or anything. That is its great achievement.

While Individ is marked with the frantic momentum of an inspired studio creation, it ultimately suffers under the weight of its boldness and reckless abandon.

Oldham continues to reinvent his landscape as a relevant artist with each attempt, and Beware tests his ability to weave different instruments into the fabric of an Americana record without breaking the mold entirely.