While some of the more Top 40-driven tracks risk getting lost in the mammoth-like production value of his imaginative, left-field hyper pop tracks, the sum of the album is beautiful, intended to be enjoyed by both faithful Flume stans and new listeners drawn to the beauty of a cacophonous, glitched-out style popularised by super-producers like SOPHIE, Danny Harle, and more.

An eager act of fan service, the results represent one of his most consistent records from the past 20 years.

Independently released, ‘shame’ is raw and expressive, the result of infinite creative freedom after leaving their label.

A record that refuses to divulge its secrets immediately, ‘Life Of A Don’ is packed with immaculate sonic detail while also relishing a certain directness.

Long in gestation, ‘Mother’ feels finessed, her technical skills as a producer aligned to a gut instinct for what works in a club environment. Deftly pieced together, this feels like one of 2024’s most assured and enjoyable electronic records.

The sonic palette may be familiar, but the strength of songwriting indicates that September Girls might, just might, be capable of pushing past this.

Returning from a six-year long wilderness of soundtrack work and greatest hits, ‘Heligoland’ sees the duo back at the top of their game.

‘EBM’ is full of stadium-ready anthems and is a riveting, celebratory and bold musical odyssey that is both glorious and gritty in equal measure.

Whilst we aren’t handed the next chapter of The Libertines story on a platter, the beauty and tumult of the band is in the subtext. It’s in John Hassall and Gary Powell joining Barat and Doherty’s mythic duo on vocals for the first time on ‘Man With The Melody’. It’s in the closer, ‘Songs They Never Played On The Radio’, which was born in 2006 and finished for ‘All Quiet…’, one of the most beautiful Libertines songs of all time.

There are plenty of hooks and the pace rarely relents, but it’s hard to ever imagine Colors ever being in anyone’s top five favourite Beck albums.

Recorded in Reykjavík with Sigur Rós collaborator Alex Somers and Múm’s Samuli Kosminen, the frosty twinkles and skittery beats complement Rhode Island-based Thibadeau’s alt-folk leanings.

It’s rich in intricately layered synths, blending swathes of influences into a more distinctive sound.

With many tipping these Birmingham indie sorts for success, a debut album as accomplished and hit-laden as this makes it hard to see the band faltering.

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

Konradsen's warm intimacy both strangely familiar but uniquely their own is one which will stay with you in the months and years to come. Welcome to their world.

‘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.

Whilst ‘Night Gnomes’ embraces a plethora of new sounds and concepts that make it distinct from the aforementioned album, it still maintains an overarching complexity and sonic ambition that listeners of old and new can revel in.

'The Courage Of Others' is a suitable album for today’s perma-frost Britain, what we’ll make of it when the Sun comes out I’m not sure.

‘Euphoric’ sits as a colourful sideways step from a talent we’ve long since learned to cherish.

It’s not all perfect - no pop record that takes as much chances as this could ever hope to hit 10/10 home runs - but it’s certainly entertaining. Direct, up-front, and completely unabashed, ‘Poster Girl’ finds Zara Larsson living up to the fame that has surrounded her for more than a decade.

It's far from perfect - 'Ghost Note' sounds horribly like Skrillex in places - but there [are] enough interesting sonic detours to suggest that these agitators of sound are more than just another over-hyped gimmick band.

The Long Island five-piece show a greater willingness to vary their musical palette than many of their contemporaries

Each ["sides" of the double LP] is so good, it’s a toss up between which incarnation you'll end up liking most.

This is an album is subtle transition. Broadening the dynamic between light and shadow, rock crunch and synth splendour, Frank Carter & The Rattlesnakes grapple with their sound, oozing confidence at every turn.

Rarely has an artist’s death been so vivid. R.I.P. Actress; your dystopian electronic visions have widened our nocturnal vision. We now await your reincarnation.

Trans-Love Energies is a master-class of pulsating euphoric electronica from one of the dance fraternity's true pioneers.

This is a powerful reminder of the pair's quite brilliant lunacy.

Utterly lovely.