LCD Soundsystem – Shut Up And Play The Hits
Shut Up And Play The Hits will most likely bring fans of LCD Soundsystem to tears at least once. The band’s music has always been equal parts hilarious, depressing and affecting, and with such a highly-charged subject matter, anyone who likes the band enough will find it an intensely emotional experience.

But even those who’ve only dabbled in the band’s back catalogue (You might know Daft Punk Is Playing In My House, All My Friends, or Losing My Edge) will appreciate Murphy’s deadpan humour, his vitality and dedication, and most of all his honesty. Every word that comes out of his mouth during the film — just as in his lyrics — has been thought through at length, and is delivered just as carefully. Read the full review on The Wired UK

Tame Impala – Lonerism
If their debut was any indication, Tame Impala’s second full-length, Lonerism, will once again be compared to albums from the late 1960s and early 70s. But if their intent was to make a record that sounds like it came from that era, they’ve failed and ended up with something more fascinating. Sure, there’s merit to the countless groups and scenes that seek out the right tube amps and compressors and microphones in order to create flawless period pieces. They’re often called “revivalists,” even though the actual term is wasted on them. Are they really breathing new life into this form by keeping it cryogenically frozen in ideas nearly a half-century old? Tame Impala prove far more exciting because, by maximizing the use of the available technology, they tap into the progressive and experimental spirit of psychedelic rock, and not just the sound. Read the full review on Pitchfork

Ty Segall – Twins
In the tradition of Lemons and Melted, which each had ballads alongside searing garage punk, the new album doesn’t have a unified focus. With the exception of frenzied, shredding highlight “You’re the Doctor”, there’s nothing especially aggressive. “Gold on the Shore” is his acoustic-driven, folky, sentimental love song. Then there’s “The Hill”, the bleary psych track where Segall’s voice recalls John Lennon’s on “Tomorrow Never Knows”. (The track also features some beautiful vocals from Thee Oh Sees’ Brigid Dawson.) There are familiar elements from Segall’s backlog in play, like that specific fuzz guitar tone, which is something like his trademark at this point, and some two-minute songs– a number that’s especially apparent on his recent Singles collection. Those bite-sized singles pop next to lengthier tracks like “Ghost”, the slower stoned jam, or the romantic and apocalyptic closer “There Is No Tomorrow”. With each new song, hook, idea, and tone, it’s increasingly clear that Twins doesn’t fit in any one box. Read the full review on Pitchfork