Where some of the cuts, like 'Gitter', 'Pro Model', or 'Many Descriptions' evoke vibrant feelings, others ignite a giant pile of 'meh' inside your brain.

At eighteen tracks, it never really drags at any point, and a lot can be said for Butler's captivating songwriting.

Leaving themselves with no room for filler, the band set out to deliver on the promise of their singles, and we're thrilled to report that they've succeeded. Stardom beckons.

The joyous moments continue to come thick and fast as you work your way through The Voyager.

It pains me to overly criticise an album that may be quite enjoyable if you were born in the '70s and have only ever looked forward for your music, but there's no avoiding this particular White Fence could have done with a second coat to better hide what's beneath.

On the Strange Weather EP, she takes this signature style and applies it to the songs of other artists who share the same particular penchant for music that finds inspiration in the dark recesses of our minds. This proves stunningly successful, no doubt responsible in part for the help Calvi recruited in the form of producer Thomas Bartlett (The National, Antony and the Johnsons) and one Mr David Byrne.

It's really worth putting aside 12 minutes to sit and decide what side of the fence you want to sit on. Or an hour, because the chances are that you will probably have it on repeat.

You don't get the sense of elation one might receive for being paid to pose for an art class because to listen to Dawn Golden's debut of course, you pay them for the privilege.

Donovan Blanc may lack a bit of originality, but when countered by a distinct lack of pretension like this it doesn't seem to matter.

Matthewdavid is forever littering these tracks with too many disparate ideas and sometimes you find yourself wishing he'd taken more lessons from his previous LP and realised that less is more.

Never does this album sound more genuine than when it's low-key, because it's then that Clipping. foregoes the satire--the very lifeblood that runs through CLPPNG's veins.

Those artists who standout from the rest of the pack do exactly this with the additional knack of killer songwriting, and Honeyblood fortunately have that going for them in an abundance.

They don't shatter boundaries or expectations, but instead provide a grand, bedrock-solid opus stuffed with 10-tonne emotional blows and tranquillity most indie-pop groups shun.

No dead sharks here, then; just the sound of a once-cult band confounding their perceived limitations and joining the top tier of Britain's pop purveyors in the process.

Season Sun is a wonderfully charming mix of interesting sounds and textures, featuring plenty of psychedelic and folk inspired harmonies that will grow and seep into your senses and leave you pining for a spontaneous summer road trip.

Even if she doesn't match the heights of Florence, she can rest easy knowing she's made much better records.

The music is bigger, bolder and more direct, but crucially there is still that lingering murkiness on the edges.

The production on the album is very shiny and polished, but at times far too cut and paste as every chorus seems to be layered with Sia's vocals, providing a backing falsetto.

It's a cliché to say that an album needs a few listens, but it's true of Plastics, as each new play reveals more depths.

There are times when the album feels like it starts to tread the same ground, but there is also sign that Jungle have it in them to do things that are different.

At its heart it is an album at odds with itself as much as it is with its audience, too weird to gain mainstream popularity, but too pop to be truly revered by existing fans.

It goes without saying that this is a must have collection that will educate, entertain, and most importantly, remind us of Cabaret Voltaire's lasting influence and cement it in an approachable collection for further generations to delve into.

One or two additional flashes of brilliance fail to act as saving graces, however, leaving Await Barbarians a disappointing effort from one of modern pop's mavericks.

This sense of uncertainty is powerful, and what makes Phox one of the most honest and refreshing albums in recent years.

The title couldn't be more appropriate--it's an album about the healing power of music, a testament from someone who made it through, a shout to keep going.

The production isn't the only platinum facet of LIZZOBANGERS. Her technical ability is unparalleled. She doesn't just summon narratives or tell stories, she uses pace and rhythm and dialect to shape a song.

The record with a chirping synthesiser in the background that sounds like the dawn's birdsong. Tomas Barfod may not have produced a perfect album, but then when has love ever been about perfection?

Neon Icon is either the greatest social commentary on 21st century music, a moderately funny joke or a terrible hip-hop album. It is this conundrum which makes it such an endearing listen and one of this year's must hear albums.