Inferno is a worthy addition to Boards of Canada’s wondrous back catalogue.

This is Stainless’ moment. Their time. One of the best hard‑rock debuts I’ve heard this year. Give them a thunderous round of applause. They’ve delivered a monster of an album to kick off the summer with a bang.

Garone isn’t backing down without a fight. OK, But Why? is here to stay, adding new conversations, new wonders, and new exotic perspectives. And thankfully, it keeps you guessing until the very end.

Ultimately, it is fascinating to witness this band continue to grow, gaining strength and confidence with each release. They proudly carry the Canadian prog‑rock flag, waving it forward from where the greats left off.

Trappes seems to have picked the exact guest artists that will do exactly that – keep her original ideas intact while bringing their own vision of her work on the ‘Requiem’ album.

There’s going to be much more to come from Harboured, this album’s got great songs and is full of surprises.

Ultimately, Blue Morpho stands as a strong and imaginative follow‑up, offering a vivid and electrifying interpretation of modern folk‑electronic fusion.

Overall, this is an intriguing collection and there’s clearly a lot of ideas flowing so future albums are worth watching out for.

An album which sees DEAFKIDS start and ends the party with their intense but inclusive sonic assault and it sounds utterly glorious.

This is one of the most explosive and enduring live blues-rock albums ever recorded — an essential addition to any rock collection.

Anderson neither attempts to master new musical systems or instruments nor does she simply transpose everything over to her more usual style. She comes to the records as something to learn from.

Within all this punk energy though, is the strong smell of patchouli oil as they embody an early 80’s Stonehenge festival vibe.

Fire On The Hill is a wondrous little cracker of an album with some beautiful arrangements and stunning melodies.

Not for them the gnarled and groove-ridden guitars, but instead a massed wall of sound that hits you like a sledgehammer.

Listening to the score of All Gates Open, you feel as if you are stepping into those artistic visual worlds in a way that sci-fi artist Jodie Day has unveiled to the world.

This is music made to be played out at parties or concert halls though, with limbs flailing about and a high risk of some damage happening.

The Moth is not for the faint of heart, but you have to give Devin a lot of credit for bringing this story to life.

A band to keep an eye on, there is a lot here to keep the interest burning. In the main, the music is deeply satisfying and will certainly demand repeated plays.

Wormhole is one of those albums that will take repeatable listens to embark on. Whether you get it or you don’t, you have to approve the daring challenge Kreng has set on this world to give us the opportunity to see what will happen next.

A Pale White Dot feels less prog heavy than previous albums, although still retains those moments of technical prowess which set them apart from similar bands who play on the quiet/loud emotive style.

Evolution sparks this massive electrical energy charging at you, in a way that the group pulls in these incredible blistering, yet skull-crunching, hard rock sounds that come out of the volcanoes, ready to erupt at any second.