For such a madcap, experimental pop act, this is a reasonably cogent collection of songs, and one that serves as a decent follow up to their last 'proper' LP, 'Paralytic Stalks'.

If you are a pre-existing fan then you will find much to enjoy here, but more importantly if you are a sceptic who thinks pop punk is a baser pleasure reserved exclusively for the under 16s, you could do a lot worse than check this album out.

These are pretty, sweet, gorgeously simple songs, some not fully formed, which have come, been and gone.

For all its ambition, however, it occasionally leans a little too heavily on the cliched conventions of certain genres, particularly pop and dance. ... Nonetheless, its ambition and creative concept can still be applauded, and there are some hidden gems to be found

Their deep sea dive of a debut gradually evolves into a rich and colourful source of escape, like a coral reef excavation with the occasionally grizzly-toothed white shark thrown in for good measure.

On Relaxer, alt-J sound utterly, wonderfully like no one but themselves.

In turning around a painful and difficult period in his life, Ben Leftwich has managed to paint a picture of redemption and growth that’s graceful and honest without drifting into self indulgence.

He hasn't quite perfected his talents, but it's far and away the best work he's done as Gambino yet.

In a sense it presents itself as an evolutionary rather than revolutionary development, in this case one which takes its predecessor's penchant for the instant and injects an enormous dose of FM-friendly American power-pop from days of yore into the mix.

[Anxiety] retains all the best things about her debut while expanding on both her sound and style.

If we're honest, the first half of the album, title track aside, is slightly cringeworthy, both in terms of music and the production. But the whole record is redeemed, beautifully, by the last three tracks.

‘Hotel Surrender’ must surely be one of the most cathartic records of the year. From the laid-back cool of opener ‘Oh Me Oh My’, it seems the Faker brand of chill beats is back. The self-production adds to the organic nature of the record, and is often quite bold, with strings and saxophones aplenty.

While it does quickly blend into one long - and at 24 tracks, it is long - medley - he’s created a heady, vibey, dare we say it - groovy - mood.

A lot of the songs are solid hits in the making.

Crimes of Passion is playful, real, genuine, and just a bit naughty.

Sisyphus is easily the boldest project to come from any three of its members, and that’s saying a lot.

With an utterly flawless, heart-twisting vocal throughout, America spins tales of sorrow and betrayal and turns them into something exquisite.

The singer-songwriter continues along that trajectory with her most cohesive, accomplished and undeniably catchy collection of songs to date.

Tracks such as ‘Answer’ contain more light, pop-ridden sensibilities, yet it’s with the grittier, heavier-sounding choruses where Phantogram are at their best.

Their most ambitious work to date, ‘Myself In The Way’ sees them enter a new world of expansive sound.

Although the remixes do not do the original songs on 'Gloss Drop' justice, 'Dross Glop' does give other artists their chance to interpret Battles' songs in their own way, from a rap twist with Shabazz Palaces to others going into even more experimental territory than the band themselves.

An intriguing album befitting of a fascinating man.

This is not their most groundbreaking work, but it's very easy to enjoy a band who themselves enjoy what they're creating.

As the album progresses onto its second disc, it becomes even more spaced out and diverse. At times, the attempts to combine more abstract and challenging sounds fail to hold your attention. However, when this works well, as on the excellent ‘Sideways Glance', it’s a joy.

Permission to sprinkle Big Sounds over their insta-recognisable songwriting might not have been something they’d allow themselves in the past, but here it transforms what could’ve easily been ‘churning out more of the same’ into 21st Century alt-pop bangers.

The concept is interesting, it fits well with the sonic ambitions of the band, and for the most part it flows effectively and has good changes of timing and pace.

A wonderful start.

Those looking for 24/7 simple, saccharine sun and smiles may be jarred in a few odd points; but the rest of us can enjoy the added punch and intensity that Be Slowly brings to the table.

If you were expecting a post-rock album, you've come to the wrong place; this is something sharper, more accessible, sure, but no less clever.

Familiar territory and no mistake, but his pining craft, all jazzy guitar shapes and heart-stung pleas, feels remarkably well-realised. Highlights abound.

Without doubt, this is Kate's heartbreak album; candid in its inspiration, both musically and emotionally

Wilfully experimental and typically fluid, Drift is an album that will keep you on your toes.

This album is not just a holiday destination but a permanent home for anyone who wants to see what the band has to offer next.

The startling openness with which Kate writes is nothing but warming.

The album proves to be a glacial melt of shimmering beauty, asking for attention and rewarding it with a kind of zen.

On the surface Of Monsters And Men’s second album is a lush master-class in pop sensibilities and folk storytelling but Beneath The Skin is more than a name. Scratch below that glittering surface and you’ll discover a band that has discovered themselves.

Where Wildness Grows is an ode to patience, determination and second chances. Given theirs, Gengahr have smashed it.

This is eccentric indie pop with a slightly off-kilt flavour.

she’s written a brilliantly fun pop record in the process.

MGMT haven't necessarily re-discovered their mojo, but re-imagined it, and in doing so, may well have given us one of the best albums of the year.

It takes a certain wide-eyed energy to make cracking pop music, something Pale Waves definitely possess - and though ‘Who Am I?’ isn’t quite the bastion of empowerment it was intended to be, it has some glimmering moments.

Though starkly different in tone to his debut, ‘Orca’ remains inherently ‘Gus Dapperton’ with his signature growling vocals and effortless alt-pop grooves and indie licks showcasing an artist stepping up musically, while also finding strength in his vulnerability.

Stop analysing too far, and what you end up with is a genuine contender.

Tribes are simply proving that they have an ear for writing brit-poppy rock, and in summary, Baby is a complete belter.

The only sore-thumb is lead single ‘How Can You Really’, which feels far too polished for the lo-fi and experimental feel of the album. Apart from that, though, this is a record of magnificent magnitude and one that’s audacious as hell.

WHY? have always been an acquired taste but anyone with a shred of interest in Yoni Wolf's idiosyncratic talents will find much to savour on a very impressive return.

Though the London band don’t exactly attack in a fist-raised blaze of mega-riffs, they hit hard all the same with quick, sharp, and consistently executed blows of effortless songwriting.

It doesn’t so much as show them in a new light, more picks up where ‘Trompe le Monde’ left off all those years ago. But, as the saying goes, if it ain't broke, don’t fix it.

Freedom of Speech is clearly political, standing up to hardships of the modern world, tackling issues in a very mature way with intelligent and insightful lyrics.

Her most consistent album to date, and let-loose like never before, blimey it’s good to have her back.

[Barnes has created] the best experimental discordant noise pop he's worked on since 'Hissing Fauna'.

Thrifty, perhaps--hey, these are austere times!--but Errors' evocation of eighties pop, tricked out with post-rock structures, is fresh and exciting.

Indiana successfully abuses the boundaries of genre to create a melancholic tome of songs that dares to be inventive from its first steps to its dying moments.

The album is a cohesive combination of touching sentiment and purposeful release--it’s a big progression for a group keen to open new doors.

Staying At Tamara’s doesn’t shelve real-life problems, but simply recognises the power in taking yourself away.

Unflinchingly honest, Wet don’t specialise in happy endings, but they’re always telling a good story.

It all sounds Trullie effortless and it wouldn't be surprising if she reached the same heights as her contemporaries with just as much ease.

Though the duo sometimes return to the comparative safety of moping synthetic orchestras, and soul-reflecting mirrors lying conveniently on the Camberwell Road pavement, for the most part, there’s a new sense of fun to Hurts.

Whilst not necessarily as endearing as their previous records, Birthmarks may in fact be better.

For those who like their light-hearted empty-headed fun to contain a certain amount of concealed depth, Dynamics certainly does the trick.

For all their goth rock exterior, My Mind Makes Noises is ultimately a pop record with substance at its core.

By and large though they still end up falling on the sword of 'Fever''s brilliance.

Dark and light, sweet yet savvy, layered but not overproduced--Foxes has created a work that embodies all these dichotomies and walks the line between them perfectly.

A vital, woozy summer repose, nine tracks in the perfect sequence for drifting off on a lazy, languorous May afternoon.

A great album full of slightly haywire, unpretentious pop music.

Doubling as perhaps his most creative and experimental sound so far – swapping the more organic instrumentation of previous records for warm, electronic soundscapes - it stands an album which feels distinctly profound in both its lyrics and musicianship.

Despite the evident WTF factor, this remains a record chock-full of invention, a pursuit of the new and--most importantly--gigantic songs.

While the relentless realisation of their film-ready stylings may not be to everyone's tastes, the fact they're here at all in the first place is a cause worth celebrating in itself.

The beautiful part about Bad Blood is that it is both entirely predictable yet completely disarming.

A laid-back album Altogether may be, it still leaves a sense of anticipation as to where the group will head next.

Cave Rave is outlandish, silly, summery and as brilliant as its title, and Crystal Fighters have somehow managed to continue in making their seemingly unattainable mix of traditional instrumentation and ideas and dubby electronics work without disaster.

This latest effort from Australian trio Methyl Ethel is a lithe, sinewy creature, by turns weighted and buoyant, half darkness and half shimmering light.

Engaging and draining, Parquet Courts have once again pushed their capabilities to the max, and as ever, the results are like nothing you’ll find elsewhere.

With a bit more focus and a more cohesive feel running throughout it, this could've been a great record. As it is, perhaps as a result of their success to date and the expectation it undoubtedly brings, it feels almost like a missed opportunity.

With new tools, they’ve taken liftoff from a proven formula when they really didn’t have to.

If you are prepared to enter into the listening experience with open ears and an open mind then you will be rewarded with an album of remarkable completeness that feels like a genuine coming of age for two musicians who are growing a little older with a significant degree of grace.

Planta is the sound of a band rejuvenated, a diverse yet cohesive effort that tightens the sonic screws without losing any of the warmth and identity they’ve managed to create for themselves.

Reptar have pieced emotions together, both euphoric and heartbreaking, to create a debut that, although perhaps too varied in places, is a great starting point for the quartet.

This eponymous debut is a well-rounded effort for a band that clearly has a knack for stadium-filling melodies and angst-ridden confessions. Anthemic in most parts and enjoyable in all, Various Cruelties deliver a debut that's moving and memorable.

While they could go darker, grizzlier, or even shinier, I Love You achieves what few debuts can, by making one hell of an opening statement.

Levine has done a wonderful job of creating a work whose humble beauty easily can captivate you if you let it.