As always the songs veer wildly from ambient interludes, funky Beta Band-esque workouts to fierce garage rockers. Looking at the material here though, they remain a band to be reckoned with. Their lo-fi, experimental psych rock is as potent as ever with Newcombe a character to be cherished.

It still stands tonally a much stronger package than his last two releases and is filled with far more highs than lows.

Ogilala is nothing particularly new or revolutionary for fans, more a strong reminder that there’s a reason why Corgan managed to shift millions of units with his brand of moody rock.

‘Yungblud’ has some of Harrison’s best tracks to date, but, as a whole, it’s not refined enough to be his magnum opus.

The album does lose momentum towards the end but hey, here we have a relatively new band experimenting with the boundaries of their proposed genre, with generally impressive results.

It feels like a career-straddling greatest hits collection in which all the ‘hits’ are brand new.

In terms of consistency, ‘Venus’ doesn’t quite match her previous work. Sure, it’s heaps of fun at times and packed with plenty of euro pop bangers to satisfy the faithful, but this time around, otherworldly, celestial highs compensate for moments when Larsson surrenders to commercial viability during its unfortunately frequent lows.

Despite a slight moment of monotony in the back-half, it’s a debut that succeeds in introducing their eclectic current set-up while also highlighting their huge future potential.

'PREY//IV' is not simply music to listen to: it’s an attempt to communicate genuine pain in ways that simply aren’t possible through a written statement posted online. Little surprise, then, that the lyrics go for the jugular on occasion (“You taste like rotten meat”; “Are you picturing my insides outside of me?”). However, they’re at their most effective when their visceral imagery gives way to narratives of coercion and control, as it does on 'FAIR GAME'

This is an album made by musical artisans, who know exactly how to translate the sound in their heads on to record.

The story of Icarus is one of tragedy, but there’s only signs of success within this offering as ZAYN begins the journey to realising his full potential.

Cells brings a sense of immediacy and creativity to a genre long neglected by the mainstream dubstep epidemic.

The result is an intense kind of dialogue between man and machine, and draws from the typically organic piano sound a new, otherworldly texture.

There’s a playful sense of bawdy humour at work across White Women. Some may find the irony unpalatable, but there’s little denying Chromeo’s cheeky pop mastery.

Outer ventures further into this new realm with an even more polished sound that doesn’t shy away from the cheesier moments. Still, the duo’s effortless delivery of multiple styles wrapped in one tight package remains very compelling.

This is a messy, distracted record for messy, distracted times. Its creator has produced something studiously imperfect, a cracked vase that’s beauty you can’t help but admire while still wishing you could see it perfect and whole.

A return to a more DIY approach delivers plentiful psychedelic sounds and heady hooks, emanating joyful warmth in spite of a seething thread of cynicism amid troubling political times.

It's a real labour of love where every track has not only been meticulously thought about and placed, but it's clear that Hopkins has thought tirelessly about how it fits into the wider picture of the collection as a whole.

Starting with offbeat rhythms and minor key vocals the album is not as accessible as "Has A Good Home" and less adventurous than "He Poos Clouds"--yet there’s something that draws you into Heartland.

‘Sell Sole II’ isn’t quite the breakout moment fans hoped for, but it is most definitely her strongest, most in-depth project to date.

With as many albums in this century as in the last, ‘Yeah Yeah Yeah’ finds Cast building on the momentum of the previous two years with both confidence and quality.

Jesus Is Born - as a stand-alone album - is pretty neat.

Grace/Confusion sees Hawk get back on track, by remembering what worked in the first place.

Overall, ‘ASK THAT GOD’, is a journey in every sense providing enough density and style changes to keep listeners intrigued to the very end.

Though moments fall into realms of safety, churning out easy radio-hits, we’re hoping she continues on this venture into more diverse sounds - as those more exciting, genre-fusing tracks are pretty fabulous.

The overriding, inescapable, and most important aspect of ‘Amen,’ though, is that it is fun. Fun to listen to, fun (it seems) to have made and no doubt fun to perform.

There are moments of meandering musicality, and uncertain songcraft. That said, there’s plenty in here to soak up – from its title out, ‘Let’s Start Here’ seems to point to a fresh beginning for Lil Yachty.

The band's melancholic core remains intact on a record that's best listened to through headphones in a big coat while crying. What is noticeable in its absence is any foray into flat out, ear-grating noise á la 'Doe Deer' or 'Alice Practice'.