‘Blood, Hair and Eyeballs’ is a level, if somewhat uninteresting, addition to the Alkaline Trio lexicon. Fans will find pockets of the band they fell in love with, while less seasoned followers may be better served diving deeper into the back catalogue instead.

Blue's watery explorations demonstrate an intriguing new facet to the project, but it might well come at the expense of the fearsome impact that earlier releases packed in the shedload.

Uncle, Duke and The Chief is a chirpy affair that’s very much in the vein we’ve come to expect, even when there’s a sadness permeating the lyrics.

Whilst there are a couple of noteworthy exceptions there is simply too much here that simply slips into background music fodder.

The Incessant marks a turning point, as Meat Wave tackle their demons head on.

Taken on their own, each track solidifies the group’s wild imagination, but IV is tough to stomach as the free-flowing, full-bodied juggernaut that it is.

There’s an awful lot of promise housed in Graveyard Of Good Times, but its scale and constant shape-shifting makes it difficult to consume and process. Some refinement though, and the future’s bright for Brandon.

All too often Welcome The Worms lacks the bite that’d make it Very Good Indeed

Seven albums in, they’re not so much shifting the formula as refining it and waiting for cult stardom to creep up on the scene.

Good Luck and Do Your Best is so far out there but at the same time feels right at home; making it one of Panda’s most thrilling pieces to date.

The refocusing of his songwriting has led to undoubted growth in SOHN’s work, but that stunted sense of adventure leaves moments that fall between the cracks.

It's Springsteen, it's 70s soft-rock, it's sun-soaked Californian road trips.

Unsurprisingly, this collection does sometimes border on becoming stale; 10-30 second fillers appear somewhat pointlessly bookended between certain tracks. But, more often than not, Friedberger does spice things up.

Rat Boy works best on this record not giving the fans what they want--but something new.

Strange Creatures limps and sags habitually, never quite succumbing to Drenge’s wishful potential and ruthless attempts at crafting the idyllic garage-rock their previous releases showcased. It’s a shame when the promise never quite delivers.

Students of jazz, but with a love of avant-garde art punk and West African music, Pom Poko bring something chaotic to the table. ... But this is their bread and butter; the kaleidoscopic realm in which they thrive.

Save for a few tweaks, she doesn’t go to great lengths to expand upon the musical formula that’s served her to date.

The experience is filmic first and foremost, barely for a minute could Les Revenants survive as a stand-alone album, but it’s the curiosity and atmospherics of that leant narrative that compels the listener through the album.

At times 'Rant' comes across like a hip church choir having a go at some pop hits. Yet, in the main, this is a fun and genuinely touching set of songs.

Realisationship might not always come together neatly, but Andrew Hung’s desire to push his own boundaries, whether that’s moving into that lo-fi zone or utilising his vocals, leaves you wondering just where he’ll turn n

It’s hard to tell if the first half of Miracle Mile is really better than the first, or whether it’s just that a kind of boredom sets in at some point during a listen, whether it’s your first or your fifth.

Through exhibiting effortlessly strong songwriting with infectious hooks and warm, albeit slightly corny lyricism, the other slacker from Canada has matured into an amorous connoisseur of alternative pop.

‘Spark’ presents a jarring change: not one from that familiar warmth to icy cold, but only halfway, a sort of uncomfortable mild chill.

Messages from the deepest isolation are most likely to be a SOS or the increasingly deranged words of someone losing touch with their sanity. TFCF somehow manages to be both. Alive with unease. Shorn of every accessory, everything to mask the sharp taste, the familiar duality of Liars is starker than ever.

Flynn and band are happy to be a little old-fashioned, but it can be fun to join them.

Two average tracks out of nine starts to feel like too many and leaves you doubting whether the rest was quite as good as you thought.

Severely damaged, sometimes terrifying, and always enjoyable, it’s his most challenging album yet.

The vocals, the terrible rhymes... it's business as usual then for Liam; it's just scrubbed up a bit.