I left my heart in Blackpool Opera House

V is an ambitious, adventurous, and positive new album from The Horrors, whose partnership with producer Paul Epworth is proving to be a formidable one

Their long-awaited LP breathes the confidence of a promising group

Elizabeth Gibson looks beyond the hype to the quiet beauty of Indigo Girls’ fifth album

PVRIS have matured their sound

Alex Giannascoli’s latest offering blends bare-bones alt-country with heady electronica – Rocket is a puzzling, yet consuming record, writes Harry Sherrin

Mac DeMarco finally grows up, delivering a low-key album full of his most introspective and accomplished songwriting to date

Future Islands fifth album follows their 2014 breakthrough with a somewhat uneven album that both surpasses and falls short of its predecessor, writes Cassie Hyde

Personal and political blur together in an infectiously energetic debut album that appropriately develops the pop-punk duo’s sound, writes Joe Casson

Wire’s latest record is another excellent example of what they’ve always done — being impressively odd, writes Jacob Bernard-Banton

Beyoncé was served lemons, but did she manage to make lemonade? Charlie Maudsley looks back on Beyoncé’s latest, one year on

Rebekah Shaw on Laura Marling’s mature and emotional exploration of feminine experience, identity and the problems with love

The indie rock titans return with their latest masterpiece

÷ is vintage Sheeran, but isn’t all that the charts make it out to be, writes William Bain

The Shins’ latest record will be a welcome return for their dearest fans, but others will find another record to add to the backend of a summer Spotify playlist, Christian Hurry writes

Subtly finetuning their sound, Real Estate have delivered a poignant and succinct album that expertly blends sunny guitars with contemplative lyricism

On his first solo venture, the Antlers frontman strips his distinguished sound down to gorgeous melodies and stark guitar

The experimental outfit’s latest album benefits from its accessible approach to complex electronica, writes Jacob Hopkins

Their consistency is remarkable, but on album number three The Orwells’ determinedness to stick to their guns sees them shoot themselves in the foot, writes Callum Oliver

Ryan Adam’s newest album sings of heart-break and divorce, but some lyrical missteps mean it doesn’t quite live up to his previous efforts, writes Tariq Salarbux