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.

This was an interesting direction to go in and it definitely has a lot of potential. But the duo will need to do a better job balancing the synths and the songs to succeed.

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

While Ainsworth is getting closer to making an impact with her sultry romanticism, she also hasn’t refused to give up that producers’ mentality that stifles her more spontaneous urges.

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.

Softening their sound hasn't led to more fans, but to a blander, weaker and unsatisfying sound.

There is very little substance either musically or lyrically, and by the end of the album it feels like the album is already recycling ideas.

There is, however, a cleaner edge to this version of bedroom rock, but its Neapolitan mixing results in a less organic sound than you feel could have been achieved with a little less of a sharper edge.

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.

On Make-Believe, a sloppy more-of-the-same same approach has crippled what this album could have been, ultimately leaving us with some vaguely interesting notions rather than well-explored concepts.

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.

The Future Bites is the worst sounding album he’s ever put out.

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.

Teeth Dreams on its own sounds like a transitional record, compelling in spots but nevertheless unfulfilling.

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

Like the super-impositions of the cover art, there’s nothing solid here (other than that all-pervasive bass-line), which is not necessarily a bad thing, but the general feeling of ethereal politeness does rather expose the moments.

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.

One of the most disappointing debut albums I've ever heard.

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