These are tracks made for the pub, to be bawled to with beating hearts and swollen lungs. Get involved.

Provides far more ecstasy than agony.

It may be a skip away from the processes they know best but, in 'In Time To Voices', Blood Red Shoes find fresh invention.

For now it’s still deliciously entertaining.

At just eight songs, doesn't stick around long enough to outstay its welcome.

The potential for unfocused drudgery could've been huge, but they've sidestepped far enough to create an involving and endearingly creepy work.

Some way off a breakthrough they may be, but they're still a chilling thrill for those unafraid of the dark.

The tenth Magnetic Fields album sees Stephin Merrit returning to both form and familiar territory.

As far as second albums go, this is quite brilliant--enough of a departure to render it excitingly fresh, yet still tinged with all the bleeps, pulses and slides that put the magic in Magic Arm the first time of asking.

'Infinity Overhead' finds [Minus the Bear] pondering The Big Questions, confirming suspicions that amateur existentialism and post-millennial indie rock comprise a winning formula.

Their debut is yearning blog-pop, which might be a bit ‘2009 called...’ if songs like ‘New House’ weren’t just as sharp as their 80s, sax-ballad ancestors.

Whilst Lorde’s world creates its own incredibly distinctive atmosphere, it feels accessible and open to maturing.

A manic experiment that bodes well for album two.

Join The Dots makes good on the band’s promise to deliver a new album every year, though you can’t help but feel certain songs were neglected in favour of more sophisticated production values.

When it works, it’s brilliant.... But at times Caramel feels undercooked.

The very retro Sleeper is an acoustic affair, characterised by bluesy downers and portentous balladry.

An unholy marriage of the brutal and the brilliant, fuelling suspicion that their best is yet to come.

[Their] slightly-off-kilter lyrical slant is probably the most remarkable thing about Evans The Death's Echobelly familiar indie.

Though Modern Vampires Of The City is flawed--there’s no stand-out single, and the low-key ‘Obvious Bicycle’ is far too sombre to justify its billing as the opening track--repeat listens to this third act are rewarded.

This sinister, skittering collection (recorded before the sad passing of singer Trish Keenan in 2011) is the perfect compliment to Peter Strickland's marvellous film.

This isn't a reinvention of Dinosaur Jr. so much as a sideways glance; a new angle to help us appreciate their wonder in a new light.

Total Strife Forever (thanks, Foals) is an ambitious, absorbing debut, and still probably only a glimpse of what East India Youth’s capable of.

Beneath every stoner vocal or woozy guitar line there’s enough melodic nous to ensure Melbourne never wobbles too far into drug casualty territory.

Not a great leap forwards, then, but a welcome throwback nonetheless.

More Light is prosaic, but also proof that when you want to rally a new generation, it’s not Marcus Mumford you want holding the megaphone.

This is just the latest in a series of EPs from the Philadelphian, though some may quibble it’s light on original material.

Menace Beach may have their sonic ingredients already established, but the result is even better than the sum of their parts.

A comforting return to the hazy psychedelia and laconic 1960s bohemia of prime BJM, only now with added eastern twinges.