The L-Shaped Man makes for a fascinating homage to the band that spawned a million t-shirts. How Ceremony will fit many of these new songs into their set lists without creating an odd pace remains to be seen, but the group has clearly attempted to showcase their veneration and done so with conviction.

Ratchet is instantly likeable and oh so infectious. A great pop album through and through, there's enough here to keep you dancing all through the summer.

Sprinter is a vital album.

Overall, Entanglement continues Erased Tapes' music and emotional aesthetic which can lift up the anchor of imagination and let its listeners float in its possibilities.

This record should be coupled with its predecessor but it without doubt exceeds its ambitions.

Stetson's bass sax is still an extraordinary thing to hear, and Neufeld's melody lines and textures add another colour to the palette.

Aside from two or three fillers, this record should be applauded for doing what Consentino does best: writing melodies that stick in your head for days.

Fated draws you in, and encapsulates a range of euphoric sounds, leaving you much lighter on the other side.

Heyoon accomplishes what many fuzzed-out, shoegaze inspired bands strive to do--create an album that is heavy, sludgy, experimental and equally precise; musical, catchy.

Time to Go Home is an unrepentant triumph that will ultimately establish the group has one of the most important musical voices showcased in 2015.

Platform is a record that reveals itself slowly. An intelligent, intoxicating electronica record that draws the listener in and revealing new truths as it goes.

It is a cliché but it really shows the power of music, Kristian Matsson found himself in an awful situation, processed it through writing, and over the course of one album left you feeling excited for the future.

Whilst Wilder Mind is not very good, it's really not as bad as you want it to be.

They felt that they had run their course and wished to bow out on a high note. They have done exactly that.

It would be unfair and disingenuous to Mew to say that each song follows a template, but the band have become so proficient at producing affirming, soaring pop-rock music that it's easy to forget just how much is going on in each track.

It's as brilliant a record as it is unmemorable, but ultimately as an artistic vice it is absolutely essential.

There is no ignoring the allusions to the natural world. And with big orchestration and even bigger ambition, the band were able to show just how we are only a small part of something much bigger.

MCIII is a great record because it gives us a scattered, messy, but uncompromisingly honest portrait of Cronin himself. Nothing is overthought, nothing is too considered.

II does not attempt to reinvent the wheel, but instead just straps rockets onto both sides and lets it fly. And boy, how high it goes.

Colours is not a bad record, far from it. It does, however, feel like an experiment that has gone slightly out of control; exhilarating and dazzling at times, worrying at others.

Even if one may argue that stylistically there's not a massive divide in the progression between the two albums, a thin yet omnipresent veil of inquiétude covers most of Hypnophobia's tracks, turning the ensemble of the LP into an almost visual exercise of self-induced trance.

Unwrapping the record reveals a collection of tightly packed delights; exceptional songs that grandstand the artist's lyrical prowess, outstanding musicianship and incredibly flexible voice, readily guided by Herbert (Bjork, Michachu, Roisin Murphy) in the producer's chair.

Deep In The Iris is full-bodied and assertive, while their lyrics address both the personal and the cultural.

Their efforts were actualised in a catchy album that makes you want to dig deeper and discover what they are trying to say lyrically and musically.

Turbo Fruits feel weightless, airless. The smooth production only makes the disappointing lack of clarity all the more unfortunate. I don't know who or what this album is for.

While Cherry Bomb's low moments hold back the album's highlights, hopefully the high points are a sign of things to come.

Quite simply, Sound & Color isn't an album to Tidal or play off've some 'device', it's one to sit down and listen to in its entirety before happily handing down through the ages like a sweaty bag of Werther's.

The ideas are fleshed out so well sometimes, and it's upsetting that I have to wait until 'City' to once again get to a place where the records conciseness is shared with its depth.