This is a far more stripped down, stream-lined record that remains just as essential and urgent as all their output so far with little to no compromise.

I'm Bad Now delivers throughout its 11, mostly restrained pieces in a way that highlights Chapman's exquisite prowess for astute observational prose.

It’s clear with Violence that Editors are working to build upon their new sound instead of re-inventing and re-producing, and though their efforts of combining dark indie disco pop with more morose lyrics and guitar undertones, it is a refreshing new direction.

Mutual Horse is a feast for the senses, demonstrating Miranda’s potential. She is truly an underrated artist with exceptional talent and imagination.

This album has a scale to it that occasionally transcends the intimacy one may associate with much of Youngs’ back catalogue.

What’s interesting about A Productive Cough is how accessible it is compared with the band’s past work.

It’s an album certain of what it wants to be, but lacking in the naturalness needed to truly convince, let alone amaze.

The climax brings an emotional resonance to proceedings that confirms Rolo Tomassi's impressive ability to cross these genres and moods and influences but still sound undeniably them.

Historian feels like a universe that exists before time, somewhere to reach up to when you need to express something greater than yourself. And Dacus shows us the way, with grace and patience and the quiet confidence of writers twice her age.

When experimentation is so often an exhibition of flashy (and flabby) production wizardry, they remain refreshingly committed to keeping you entertained rather than just impressed.

Its one-noted nature will make it difficult for anyone outside of genre fans to want to reach out over and encourage a crossover appeal in the way that, say, Touche Amore have managed. It certainly is an impressive genre album with enough little touches to keep it distinct and interesting.

As its title suggests All Nerve is never a passive listen, it shifts you, touches a nerve, and leaves a timely mark.

Femi Kuti is still an entertaining performer and One People One World is almost tailor-made for live shows with its sharp performances and joyful tone. But listening to it on its own is a much less satisfying experience. These songs are too similar in tone and message, and unfortunately that makes for an undynamic album.

There’s an ever-so-slight lack of the precariously raw noise that made Ugly so thrilling, but the crisp, imaginative songwriting redresses the balance.

This record may well work as ambient escapism, but in its serene tenderness it’s also a reminder of the fragility of all that surrounds us.

A rhythmically dense album that suggests Carey’s ever-evolving sound is in its prime stages.

After 40 minutes you’re still not totally sure what it is you’ve listened to. This could be great, messy pop music, or just as easily be something you dreamt, dozing in post-coital bliss with a detuned radio in the background. Whichever it is, you’ll just be glad it exists. If, that is, it exists at all.

Whatever looming shadow might darken your homeland, Music for the Long Emergency offers a substantive retreat, with enough room for minds to rest and wander in peace.

The feminine focus of Remy’s music overlaps with the political in exact and contemporary ways.

If there’s a problem with the album it’s possibly in the even-ness of the tone throughout. The vocals are soft, tuneful and pretty, the tunes are melodic and often hooky but it’s not until the second last track--‘Snaps’--arrives with a bit more attitude and grit that you realise that this is what has been missing up until this point. That said, almost every track here would work as a single, or heard by itself on the radio – they’re all decidedly easy on the ear.

Man of the Woods is not an outright disaster but it is a significant disappointment--a record too preoccupied with image, volte face and forced “REAL” to fully engage as a coherent piece of craftsmanship.

SHIRT’s version boasts a stark separation from the dirty south that feels long overdue. As he continues to explore the arts and its many forms, SHIRT needs to better develop his lyrical skill if pure beauty is what he aims to achieve, but this debut marks a promising start.

Will this please die hard fans? It surely will, being filled with the signature Don Broco charm and sound, but shows elements of growth and diversity--as a third album should. The year is off to a good start for them.

Room remains Ought’s most beautiful--yes, beautiful--album to date.

Severe and melodic, Time the Teacher is a shapely journey to the byzantine innards of DeCicca’s mind.

While it sometimes isn’t the smoothest of rides, there’s more than enough here to help maintain a sense of devotion to Wasser’s work.

Overall, the record is recognisably Fallon’s; he takes his best ingredients of trademark likeability and searing emotional insight and transfers it while changing things up musically. It’s inspiring to see a musician like him take strides and experiment, not necessarily taking the safe route.

All in all, Crooked Shadows is where new and old Dashboard meet amicably. It is the most revitalising DC album to date.