In 'That's The Spirit' the Sheffield band have crafted an album that should see them not just seated at rock's top table, but putting their feet up and getting comfortable.
Fans of Women’s challenging melodies will appreciate the songcraft here, but Viet Cong are very much their own animal.
The record is replete with sometimes grinding, sometimes funky post-punk basslines and pared-down, insistent beats. If you’ve heard last year’s excellent ‘Divide And Exit’, or the odds’n’sods that preceded it, it’ll sound instantly familiar.
'Miley Cyrus And Her Dead Petz' is surely the weirdest album made by a massive pop star in recent memory, but more impressively, it's also an essential listen.
Young Fathers’ second record is a clattery lo-fi gospel of budget drum machines, enthusiastic xylophone, monomaniacal krautrock grooves, preacher-man testifying and a few good tunes, all wrapped up in a title that feels like a provocative statement.
Where ‘Drenge’ offered brutal bloodshed and casual violence, ‘Undertow’ is much more focused on sneaking malevolence.
If ‘A Head Full of Dreams’ really is to be Coldplay’s last hurrah, then they’ve gone out with a flashbang of colour and catharsis.
Perhaps, for a band as strange as this, making a pop album is the ultimate experiment. The results are anything but clichéd.
As La Priest, he’s made one of the debuts of the year.
They’ve used their major-label debut to rally the troops rather than just jeer at them from the sidelines. Every song here is a call to arms or an affirmative flip of the table.
Marling is her own protagonist - flawed, like anyone else, but utterly compelling all the same.
‘Platform’, Herndon’s third album and her first for 4AD, unveils sparkling, electronic pop that twitches like a corrupt video file, her voice fractured into glinting melodies.
For all the music's cagey intelligence, Drake sounds like the kind of guy who comes sauntering out the traps in a 100m race and immediately breaks out into a victory lap, pausing only to remonstrate with hecklers.
She might not want a pedestal, but there aren’t many songwriters who’d make better use of it.
This combination of pop and disco makes ‘Ratchet’ the perfect summer soundtrack. Sometimes you’ve got to party like it’s 1989.
It’s reassuring that, five years on, the 33-year-old is back with something utterly predictable: yet another masterpiece.
It's a hugely ambitious, caustically funny album about the redemptive possibilities of love, and being heartily sick of your own bullshit.
This is a reunited band making music to rival their very best. There’s airmiles aplenty in these Essex Dogs yet.
'Fading Frontier' - the most direct, unflinching album Deerhunter have ever made, and quite possibly the best - sometimes feels like the second part of a duology about breakdown and recovery, not only from the psychodrama of 'Monomania', but from the car accident Cox was hospitalised by last December.
‘ALLA’ is a thrillingly focused follow-up that betrays its anxieties even as it mostly makes do with extolling the virtues of vice.
Here, Nielson strides away from the woozy Beefheart-indebted psychedelia of ‘II’ and its self-titled 2011 predecessor, and vividly expands every single aspect of the UMO sound.
It’s refreshing to hear what they can do when they cut loose, when they’re not afraid to be a bit raw and spiky.
A record like a deep gulp of cold air on a clear, bright morning after.
From the crisp, hip-hop accenting on the drums to the full-bodied bass and vivd synths, ‘Currents’ is an audiophile’s wet dream.
Less has always been more with Smith, and the success of ‘In Colour’ lies in his gift for melding together very few elements to create songs that are original, surprising and highly effective.