Things are a little different now but like many of their contemporaries, Cut Copy have had to adapt to the landscape and Zonoscope is a considered attempt at a more kaleidoscopic approach.

The result is a brilliant and warped collection of sinister lullabies and dreamlike ballads in which Funk’s gravelly timbre jars against Pollock’s dreamy vocals in a beautifully nightmare-infused collision.

Blossoms have produced an album of perfectly structured songs accompanied by strong lyrics that tell many tales to the large cult they seem to have already acquired.

Memory Streams is mesmerising. It feels familiar, but is ultimately new and exciting.

Her first studio affair in four years, ’11 Past The Hour’ finds Imelda May consolidating her distinctive position within pop’s pantheon.

The Diving Board is an adult affair, but impressive enough to explore, and reinforces Elton’s continuing creative renaissance.

Half of contains all the crackling, happy-sad flavour of Gold Panda’s past discography, but with harsher textures than before--it’s disorientating and inquisitive, physically uprooting you from your comfort zone.

Succinct, tightly wound, and often explosive, ‘Magic 2’ adds further ammunition to his remarkable late career high.

The record is unmistakably Jónsi, especially with his ‘Hopelandic’ language making several appearances. ‘Shiver’ provides an enjoyable glimpse into Jónsi’s direction, but struggles to balance the tonal dichotomies of abrasive electronic freak-outs and blissful melancholia central to the album’s appeal.

It’s little surprise that Bankrupt! is as meticulous, likeable, and danceable as its predecessors.

For all of E’s melancholy brooding, ‘Earth to Dora’ still has a tender and vintage vibe. Although E seems to have adopted the role of a hapless romantic that is unlucky in love, this record is still strangely upbeat.

Fading Love feels like a transitional phase in the producer's journey, an accomplished springboard to launch a more definitive statement of intent next time round.

Collapse Into Now suffers somewhat. It's good. But it's no Reckoning. Or Document. Or Automatic For The People. Or...

An unassuming and bewitching masterpiece.

Reticent yet resplendent, SBTRKT is a master craftsman, humanising the digital and effortlessly shifting the shape of sounds.

A fine goodbye filled with easy charm and style.

Over-produced but under-written, the combined cast of co-writers and producers have failed to knit together a cohesive whole. Plenty of these songs are pleasant enough, but there’s very little to mark an artist in their prime.

While casual listeners might find the overall listen a bit sparse, there’s no doubt it’s the perfect soundtrack to a Halloween party, or indeed a Halloween Movie™️.

It never quite transgresses those influences, yet in terms of sheer charm and bravura it places Olly right up there with his idols.

While at times lyrics can feel uninspired, and there is far less space-rock at play than previous ventures, there’s no denying that the tracks on offer are sharp and hard-hitting. A very solid release, and proof of why Muse are still held to such high acclaim nine albums on.

There’s more than enough life in his work to shock, provoke thought, and inspire for another two decades.

An easy record to enjoy, but a difficult one to fully evaluate, it presents an artist pursuing vital sense of personal and aesthetic freedom.

As a stand-alone album, what Guy-Manuel de Homem-Christo and Thomas Bangalter have created won't sate the disco heads screaming for more club material, however as an accomplished score it can only make a legendary film yet more cherished.

If this is post-rock, it’s in the purest sense of that prefix: it’s rock that goes beyond expectations for the genre, even while working within its confines, to somewhere that you sense its players aren’t quite accustomed to yet.

Making Time is a solid album, but it's elevated even further by the presence of closing track, 'Dedicated'.

Thr!!!er hits with a fresh, single-minded purpose.

A cohesive, immersive listen that heartily repays repeated listens.

Equal parts entertaining and wide, it finds the rapper coming full circle, only to find himself once more.

'Extinction Level Event 2' is often bloated and monotonous, making its one hour (plus!) run-time challenging to endure. What could be a colourful and important album is unequivocally tarnished by the tedious, repetitive, and needless opening seven tracks.

‘Is 4 Lovers’ is both a worthy addition to the collection and a reminder of what the band has gained over the years since they were just two kids from Toronto blowing everyone’s minds by not hiring a guitarist.

Over the course of twelve tracks the dual female vocals transport and transcend into beautiful plateaus of heartbreak and hoedowns with a gritty edge unrivalled by their peers.

A solid debut, then, and one most likely coming to a festival stage near you this summer. Buckle up and be satisfied.

The album’s production works against it, however. Beyond proficient, it's so clean and glossy your attention slides off the album. You long for a little grit and texture to really bring the music alive.

Daring and beautiful, ‘Civic Jams’ lays claim to a singular location within British music.

‘How To Replace It’ finds dEUS facing up to their past and refusing to be hemmed in by it. At times daring, at others direct, this feels like the work of a band with nothing to prove.

It sticks in the mind for a good while after and just keeps bringing you back in with fantastic production, brilliant pop songwriting and a central personality as easy to like and support as any on the current music scene.

Overall, ‘Such Pretty Forks In The Road’ is relatable in parts and uninspired in others but for a few key moments of simple brilliance it’s worth a listen.

On Automaton, the band falters under the weight of its previous singles, leaving any possibility for chart success mired in a sound that comes across as tired and unoriginal, and the album listening experience as a monotonous ordeal.

An honest and admirable collection that merits some attention.

‘Unlimited Love’ is exactly what it says on the tin. A celebration of union, friendship, and life, all manifested across 17 tracks. Littered with lyrical easter eggs and distinctive Chili Peppers funky flare, this record is a regal return.

On this record Fat White Family solidify their status as a one of Britain’s most unique voices, and ‘Forgiveness Is Yours’ is the strongest example yet of the band’s caustic creativity.

This is an album that grows in grandeur with each listen, layers unravelling with every replay.

Always interesting, and with a deft use of traditional instrumentation alongside studio trickery, Fanfarlo have created another nugget of joy.

This is cheerful childhood innocence come to life - candy-floss dreams and rainbow rivers.

Black Radio 2 is a good, albeit safe recording.

The band have managed to capture their live energy with ease here, and in part due to this, and the album's relentless level of glee, it can become a tiring listen. However, one can't help but admire the band's enthusiasm and the gusto in which they've gone for these songs.

‘Describe’ offers a peek into life as a twenty-something, untangling the thorns of maintaining connections.

Serene yet disturbed, this is album that progresses the band well.

It’s not clear if this is to be the last instalment of the man on the moon franchise, but what is clear is that Kid Cudi is back on track, and with this release, has made his best solo album to date.

Originally whittled down from 40 songs Williams had penned from a jumble of sample-led ideas, You’re Welcome nonetheless features Wavves proverbial fuzzy guitar distortions and surf vibes, but includes his explorative forays into ‘70s psychedelia from South America, Cambodian pop and his obsession of ‘50s doo-wop.

With a more complex sonic palette than his debut, Mark The Hard Earth contains a number of absolute gems.

A nice refresher, if a little unnecessary.

It’s an impressive record, albeit one that’s often difficult to get a foothold on.

It gels together so well that it is hard to find fault. Other than the album needs some trimming. A lot of trimming. Which is a shame as there is a fantastic album in there but navigating it can be overwhelming at times.

‘Michael & The Mighty Midnight Revival: Songs For Sinners And Saints’ may be unwieldy, but its inviting, and has so much to explore.

By getting back to what he does best, this is a sizeable step in the right direction, with ‘A Modern Day Distraction’ easily his most well-rounded project since his beloved debut.

The departure comes with tracks like ‘The Bee’, itself a pastiche of the trip-hop genre, while tracks like ‘Melifer’ fuse the distinctive Plaid sound with pretty Balearic guitar melodies to keep things interesting.

Sadly there are too many beats and samples that it can be hard to keep up with the ferocious pace, despite the obvious talent and flashes of genius on this record.

A 23 track double album, the compositional sense at show on ‘Old Friends, New Friends’ is worthy of Satie or Sakamoto; opener ‘4:33 (a tribute to john cage)’ blushes with intimacy, while ‘Late’ and ‘Berduxa’ are blessed with a twilight pensiveness.

A solid addition to his discography and undoubtedly more unforgettable than his debut.

While The Strokes have outgrown any notions of being rock's saviours, in doing so they could just have delivered what might be their best album since Is This It. It's certainly their most diverse.

TOY get the balance exactly right here, perfectly mixing noise and melody.

Those uncharacteristic twist and turns--the hybrid of orchestral arrangements and classic indie pop formulas--give the album cohesion and a narrative despite seeming out of place at first. Still, the LP is testament to the group’s ability to churn out perfectly wrought, desperate pop, time and time again.

Aside from a few big hitters, Wonderful Wonderful has too many middle-of-the-road moments. ‘Life Itself’, ‘The Rut’, and ‘Have All The Songs Been Written’ are barely distinguishable, and instantly forgettable.

Home walks the fine line between commercial viability and musical integrity with confidence and flair.

For Sufjan fans, despite not belonging exclusively to their hero, The Greatest Gift is immensely enjoyable. For anyone not yet sold on the Michigan music-maker, well, you’re in for a treat.

There is a definite whiny, punky recklessness to Any Port In A Storm, a feeling of intentional roughness and rawness mixed with genuine musical chops and strained emotional frankness.

The Magic Gang’s debut is all you could wish for. ... Though it’s been a long time coming, The Magic Gang is still an ambitious release, that offers hopefulness and heartbreak in a 60s tinged wrapping.

RJD2 has made a bold statement with Dame Fortune but sadly one lacking in much resonance.

If you are looking for ‘all the feels’ on a cold winter’s morning, ‘Change The Show’ will warm the cockles of your heart and make you yearn for the carefree and hazy festival days of summer.

At times struggling beneath its own weight, ‘F-1 Trillion’ is a love letter to the genre.

it’s evident enough that Franz Ferdinand are masters at crafting stylish, guitar-driven anthems. Right Thoughts affirms this expertise, and is a very danceable fourth LP.

No two songs are the same - each one brings something new and tells a melodramatic story to the album. There’s a good mix of more punchy tunes and sweeter tracks, making it a well-rounded record that's been worth the wait.

Again, like their previous work, 'Champ' is a short and sweet affair - but not one to miss or forget.

SG’s talent as a producer, multi-instrumentalist and vocalist is undeniable, and it’s on these less predictable tunes where he demonstrates the extent of the originality and flair at his fingertips that he shows us his true potential.

For now, these gossamer modernists have created something understated and endearingly elegant.

Mirror Mirror is a raw, nocturnal and very northern record, and one that's nailed its bleeding, hedonistic colours high up the musical mast.

As a whole Hurts 2B Human is not perfect. It is full of emotion and passion in certain parts, and yet devoid of it in others.

It's a win for the bedroom door-locking crew.

Tom Misch’s vocals return towards later in the project for stunning standout ‘Last 100’. The piano chords brighten the mood whilst a raspy yet soft vocal line glides down, with quick-fire guitar peppered throughout, while album closer ‘Storm Before The Calm’ rounds off the mood with bittersweet nostalgia.

End Times may be a tunnel with no light at the end of it, but the bleakness is beautiful.

Every single song boasts a glittering chorus and light yet effective production; this is a record built on simple pop tracks that are a pleasure to dig deeper on. 'Girl' is the iceberg of 2019 pop albums; dip under the surface, and you’re awestruck by the depth of it.

Lacking both the complexity of the Super Furry Animals' playful psychedelia or the intimate warmth of Rhys’ solo work, it’s nevertheless an appealing curio and trailblazer in the small sphere of biographical concept albums.

Young, yet somehow void of naivety. Vibrant, yet artistically matured.

Melodies that burrow under your skin and up-to-the-minute production make Tracer a record to savour.

Fun, lean, and concise, ‘The Human Fear’ finds Franz Ferdinand looking to the future without any need to panic.

Trading the band’s raggle-taggle instrumentation for vintage echo, Mac DeMarco slick and C86 crunch only oversaturates this occasionally loveable, mostly feeble effort.

100 Acres... drips with sonic gloss.

Eight of these nine tracks constitute the best album for night driving under city street-lights since Growler's estimable ‘City Club’.

It feels like a genuine step up for the duo, and the divine collage of sounds and futuristic atmosphere make it an essential listen.

By its very nature, Nat King Cole And Me isn’t anything groundbreaking; however the project is ultimately a well produced and excellently performed tribute album.

‘Ongoing Dispute’ isn’t just the strongest material the band has released to date, but is filled with progress, lust and learning.

‘Automatic’ is emotionally-charged and is full of introspection, intelligent songwriting and despite touching on themes like loss and blurred reality is still poetically beautiful as it always is with the Lumineers.

Given time, it's enjoyably addictive.

It’s okay that this seventh album has no obvious breakout or festival showstopper.

A truly stylish but somewhat overly long affair.

Santigold is at her best when the production behind her has plenty of Caribbean-inflected bounce but throughout 99¢, she proves that she deserves more success than she gets.

Acolyte may infuriate dance purists with its naive inflections but for more pop orientated people it's a fun, if somewhat formulaic start to the decade.