Audioxide

Part dramatic dream, part sun-soaked soliloquy, part love letter to mid-century pop rock, Midnight Sister have sewn together a wistful, woozy record.

The album is a nostalgia trip and, unintentionally(?), the longest ‘only Millenials will remember’ meme in some time.

The album is purposefully provocative, and whilst this brings exhilarating and hard-hitting moments, it can also result in disorientating frenzies.

Emotionally vulnerable and creatively restless. The record plays out like a prolonged stream of consciousness, yet every aspect seems carefully constructed.

For all its instances of greatness and undeniable beauty, MAGDALENE gets tangled in its own pop epic aspirations.

A satisfying-yet-unspectacular entry in the Bat for Lashes discography. Heartily recommended to those who share Khan’s affection for the ’80s.

Despite its glistening arrangements and ethereal production, this is a cheesy, yet excellently realised, pop album at heart; bold and forthright.

While much of the Two Sun's tracklist doesn't feel as though it explores its ideas far enough, its highlights go a long way to make up for it.

Honey delights in a downtempo sensuality. It finds voice in not being larger than life, delving instead into the deeply personal.

That Bush could create something so deliriously weird and wild yet also break through to the mainstream world is great proof of her powers.

Björk creates her own identity by combining contrasting into something entirely unique. This broke the mould of what it means to be a new, exciting artist.

Production is where SOPHIE shines. Whilst there is a plethora of interesting ideas here, there’s also a notable absence of creativity in actual song writing.

The record is scattered with gorgeous moments that ultimately feel like a tease. Utopia occasionally grips its claws in, only to let go seconds later.

An ambitious, splintered record. Glammy schizoid pop rubs shoulders with tightly wound, rather despairing cud chewing, but the two styles never truly mesh.

“This is like a classy Disney tune” – André and Fred listen to Lorde

Music written by a composer of Ellis Ludwig-Leone's class should never feel formulaic, but it does. It makes for a mildly enjoyable, yet rather hollow experience.

There are a handful of stellar pop tracks, and a mammoth mid-album climax that will go down as one of the group's finest moments. A lovely indie-pop record.

Homogenic is a stunning work. Björk often defies categorisation, but her third studio album has a coherence that’s often missing from her other records.

How To Be A Human Being is a great indie pop album in a year that hasn’t had many. So far, the band hasn’t made a misstep

22, A Million feels like a nondescript blur. It doesn’t deal in structure, but in loose clusters of peculiar sounds and imperceptible words. It’s a pretentious mess.

This was 50 minutes of anti-climax. Interesting instrumentals are peppered throughout, but they mostly fail to evolve from the opening moments of each track.

Under the Midas wing of Brian Eno, Talking Heads juggle African genres with Western experimentation and innovative digital play.

Capturing the middle ground between passion and precision, Annie Clark’s sound here can only be described as some sort of melodic computer malfunction.

A world both wonderful and despairing. Such dainty music will inevitably turn certain audiences away, which is a shame because, frankly, Divers is a triumph.

Flowing beautifully from beginning to end, the album in its entirety can feel slightly taxing due to the bloated, overstuffed nature of the songwriting.