Come Tomorrow arrives at a time of need for balance and soothing simplistic stories that drift us away from the feather ruffling of everyday Hollywood and politics. Not that there is anything simple about Dave Matthews and his mates, but their complex sound does calm and bring smiles to those willing to delve in.

Overall, Ye is another volatile chapter in the book of Yeezus. It’s candid, despicable, attractive, disgusting, hurtful, and, at times, hopeful. Ye is not West’s best album, but it just might be his most genuine.

To illustrate the message behind CHVRCHES’ Love Is Dead is akin to describing yin and yang as manifested components of the same force. No longer intertwined or complimentary, but broad strokes within a complex mind. Lauren Mayberry’s lyricism comes across as gloomy, aggressive, and, at times, resentful and resigned, yet she never loses that tonal tenderness or benevolent optimism by which her songwriting prowess has operated.

Bursting of adrenaline inducing thumpers, Wax Chattels’ debut record is anything but ordinary. This Auckland outfit’s sound is akin to a dark underground-like riot; way of auditory-wrecking drums, a musically empowering bass-line, zippy array of keys, and an enthralling fuck-off attitude of epic proportions.

Indeed, Tranquility Base Hotel + Casino is the Sheffield foursome in brand-spanking new form. Cosmically driven keys lead the metamorphosis, Alex Turner’s delivery has attained a new height of seduction, his lyricism triumphantly cunning, the Arctic Monkeys have poked holes on all expectations.

Ultimately, Be More Kind is a delightful record and, more importantly, Frank Turner finds his song-writing prowess at its best in quite a while. Although we live in turbulent and scary times, Turner has found a way to channel the negativity into an uplifting positive – and that’s quite a talent.

In the end, Twerp Verse is a forceful voice among the rising waves of empowered women. It’s contemporary and important, yet sweetly presented. The Speedy Ortiz foursome recently described Twerp Verse as “necessary brattiness,” but surely their dedicated and logical fan base would expunge “brattiness” from that motto.

The troupe’s second effort pushes the boundaries, but more importantly it breaks the perceived stigma of being Julian Casablancas’ side project and firmly projects them as The Voidz, a band with its own persona.